The Devonshire Manuscript: A Women's Book of Courtly Poetry (Volume 19) (The Other Voice in Early Modern Europe: The Toronto Series) [1 ed.] 0772721289, 9780772721280

Table of contents :
Cover
Title Page
Dedication
Contents
Acknowledgments
List of Illustrations
Introduction
3 Devonshire Poems
Illustrations
Table of Hands in the Devonshire Manuscript
Abbreviations Used in Footnotes to the Text
The Devonshire Manuscript: British Library, Additional MS 17492
Bibliography
Index of First Lines
Index

Citation preview

Lady Margaret Douglas and Others

The Devonshire Manuscript: A Women’s Book of Courtly Poetry E dited and intr odu c e d by

Elizabeth Heale

The Other Voice in Early Modern Europe: The Toronto Series, 19

THE DEVONSHIRE MANUSCRIPT

The Other Voice in Early Modern Europe: The Toronto Series, 19

The Other Voice in Early Modern Europe: The Toronto Series

Se rie S edi to r S Margaret L. King and Albert Rabil, Jr. Se rie S edi to r , e ng l i S h te x tS Elizabeth H. Hageman

Previous Publications in the Series Madre María Rosa Journey of Five Capuchin Nuns Edited and translated by Sarah E. Owens 2009

Pernette du Guillet Complete Poems: A Bilingual Edition Edited by Karen Simroth James Translated by Marta Rijn Finch 2010

Giovan Battista Andreini Love in the Mirror: A Bilingual Edition Edited and translated by Jon R. Snyder 2009

Antonia Pulci Saints’ Lives and Bible Stories for the Stage: A Bilingual Edition Edited by Elissa B. Weaver Translated by James Wyatt Cook 2010

Raymond de Sabanac and Simone Zanacchi Two Women of the Great Schism: The Revelations of Constance de Rabastens by Raymond de Sabanac and Life of the Blessed Ursulina of Parma by Simone Zanacchi Edited and translated by Renate Blumenfeld-Kosinski and Bruce L. Venarde 2010 Oliva Sabuco de Nantes Barrera The True Medicine Edited and translated by Gianna Pomata 2010 Louise-Geneviève Gillot de Sainctonge Dramatizing Dido, Circe, and Griselda Edited and translated by Janet Levarie Smarr 2010

Valeria Miani Celinda, A Tragedy: A Bilingual Edition Edited by Valeria Finucci Translated by Julia Kisacky Annotated by Valeria Finucci and Julia Kisacky 2010 Enchanted Eloquence: Fairy Tales by Seventeenth-Century French Women Writers Edited and translated by Lewis C. Seifert and Domna C. Stanton 2010 Leibniz and the Two Sophies: The Philosophical Correspondence Edited and translated by Lloyd Strickland 2011

The Other Voice in Early Modern Europe: The Toronto Series

Se rie S ed i to r S Margaret L. King and Albert Rabil, Jr. Se rie S ed i to r , e ng l i S h te x tS Elizabeth H. Hageman

Previous Publications in the Series In Dialogue with the Other Voice in Sixteenth-Century Italy: Literary and Social Contexts for Women’s Writing Edited by Julie D. Campbell and Maria Galli Stampino 2011 Sister Giustina Niccolini The Chronicle of Le Murate Edited and translated by Saundra Weddle 2011 Liubov Krichevskaya No Good without Reward: Selected Writings: A Bilingual Edition Edited and translated by Brian James Baer 2011 Elizabeth Cooke Hoby Russell The Writings of an English Sappho Edited by Patricia Phillippy With translations by Jaime Goodrich 2011 Lucrezia Marinella Exhortations to Women and to Others if They Please Edited and translated by Laura Benedetti 2012

Margherita Datini Letters to Francesco Datini Translated by Carolyn James and Antonio Pagliaro 2012 Delarivier Manley and Mary Pix English Women Staging Islam, 1696–1707 Edited and translated by Bernadette Andrea 2012 Cecilia Del Nacimiento Journeys of a Mystic Soul in Poetry and Prose Introduction and prose translations by Kevin Donnelly Poetry translations by Sandra Sider 2012

The Devonshire Manuscript: A Women’s Book of Courtly Poetry LADY MARGARET DOUGLAS AND OTHERS •

Edited and introduced by ELIZABETH HEALE

Iter Inc. Centre for Reformation and Renaissance Studies Toronto 2012

Iter: Gateway to the Middle Ages and Renaissance Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668

Web: www.itergateway.org

Centre for Reformation and Renaissance Studies Victoria University in the University of Toronto Tel: 416/585–4465 Fax: 416/585–4430

Email: [email protected] Web: www.crrs.ca

© 2012 Iter Inc. & Centre for Reformation and Renaissance Studies All rights reserved. Printed in Canada. Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous support of James E. Rabil, in memory of Scottie W. Rabil, toward the publication of this book. Library and Archives Canada Cataloguing in Publication Lennox, Margaret Douglas, Countess of, 1515–1578 The Devonshire Manuscript : a women's book of courtly poetry / Lady Margaret Douglas and others ; edited and introduced by Elizabeth Heale. (The other voice in early modern Europe. The Toronto series ; 19) Includes bibliographical references and index. Issued also in electronic format. Co-published by: Centre for Reformation and Renaissance Studies. ISBN 978-0-7727-2128-0 1. English poetry—Early modern, 1500–1700. I. Heale, Elizabeth, 1946– II. Victoria University (Toronto, Ont.) Centre for Reformation and Renaissance Studies. III. British Library. Manuscript. Additional 17492. IV. Title. V. Series: Other voice in early modern Europe. Toronto series ; 19. PR522.L46 2012 821'.208

C2012-904577-2

Cover illustration: Portrait of a Lady, ca. 1540, by Hans Holbein the Younger, The Royal Collection © 2011 Her Majesty Queen Elizabeth II / The Bridgeman Art Library ROC 397748. Cover design: Maureen Morin, Information Technology Services, University of Toronto Libraries. Typesetting and production: Iter Inc.

To Graeme with thanks for your—almost—endless patience.

Contents Acknowledgments xi List of Illustrations xiii Introduction 1 Illustrations 38 Table of Hands in the Devonshire Manuscript 45 Abbreviations Used in Footnotes to the Text 49 The Devonshire Manuscript: British Library, Additional MS 17492 51 Bibliography 255 Index of First Lines 261 Index 267

ix

Acknowledgments I have met with much kindness and received generous help both in the course of editing this volume and over the longer period I have spent working on the Devonshire Manuscript. I am particularly grateful for the friendly encouragement and practical support of the series editor, Elizabeth H. Hageman. It was she who first suggested that the Devonshire Manuscript might make a suitable contribution to the Other Voice in Early Modern Europe series. Throughout the gestation of this edition, her sharp eye for detail has been equaled only by her kindly support and encouragement. A very special kindness was shown me early in my work on this edition by Professor Ray Siemens of the University of Victoria, Canada, who sent me a digital copy of his transcript of the Devonshire Manuscript. Under the auspices of the Electronic Textual Cultures Laboratory at the University of Victoria, Professor Siemens is heading a project to produce an electronic edition of the Devonshire Manuscript in its social and textual contexts. I have carefully checked Professor Siemens’ transcript against the manuscript, and while on occasion I have come to different conclusions about specific words, his transcript undoubtedly saved me many hours of labor and, I suspect, not a few howlers. Any errors that remain or have crept in are entirely my responsibility. Professor Siemens’ generosity is typical of scholars working in this area. Long ago, I similarly benefited from the kindness of Helen Baron, who shared with me her identification of scribal hands in the manuscript before she published her work in 1994. With similar generosity, Professor Jason Powell has provided me with information about his as yet unpublished discovery of some phrases and marks impressed in the manuscript by a metal stylus. I have been able to add a note about this new material to my Introduction. In addition, I want to acknowledge the help of the staff of the Manuscripts Room at the British Library, and to thank Jennifer Coyle and the wonderful facilities of Jedburgh Library in the Scottish Borders. I spent many pleasant hours there poring over a microfilm of the manuscript. I also owe a debt of gratitude to Anabela Carneiro for her initiative and patience in shepherding this volume through the press. xi

xii Many colleagues have encouraged my interest in the Devonshire Manuscript and assisted me in bringing my studies to fruition. In particular, in relation to the Devonshire Manuscript and Tudor manuscript verse more generally, I wish to acknowledge Cedric Brown, Elizabeth Clarke and the Perdita group, the late Jeremy Maule, Phillipa Hardman, and Michelle O’Callaghan. From all of them I have received at different times crucial support and much collegiate friendship. My greatest debt is undoubtedly to my husband, Graeme Watson, who has spent untold hours giving me scholarly advice and encouragement, not all of which I have properly heeded, as well as patiently picking up the domestic pieces that resulted from my distraction.

List of Illustrations Cover illustration: Portrait of a Lady, ca. 1540, by Hans Holbein the Younger, The Royal Collection © 2011 Her Majesty Queen Elizabeth II / The Bridgeman Art Library ROC 397748.* All plates in the text are © The British Library Board and are from BL, MS Additional 17492. Plates 1a and 1b. Leaf 47v (poem 70) and flyleaf. Lord Thomas Howard’s initials, possibly in his own hand, and Lord Thomas Howard’s initials on the front flyleaf.

38

Plate 2. Leaf 18v (poem 26). Punctuation poem by Richard Hattfield.

39

Plate 3. Leaf 44r (final two stanzas of poem 65). The stanza in the middle of the page shows the change in pen and in the size of Lady Margaret Douglas’s writing.

40

Plate 4. Leaf 65r (poems 99 and 100). A poem in Lady Margaret Douglas’s hand, followed by one in Mary Shelton’s hand.

41

Plate 5. Leaf 68r. Names and phrases copied by hand 7, followed by the first two stanzas of poem 106, copied by Mary Shelton.

42

Plate 6. Leaf 55v (poem 81). Mary Fitzroy, Duchess of Richmond’s copy of “O happy dames.”

43

Plate 7. Leaf 91r (poems 176f-h). Stanzas copied by hand TH2.

44

* Susan E. James has argued that this image, sometimes identified as of Queen Katherine Howard, is in fact a portrait of Lady Margaret Douglas; see James, “Lady Margaret Douglas and Sir Thomas Seymour by Holbein: Two Miniatures Re-identified,” Apollo Magazine 147 (1998): 15–20.

xiii

Introduction The Other Voice In the Devonshire Manuscript of early Tudor verse (British Library, MS Additional 17492), the experiences of a group of elite women associated with the court of Henry VIII speak to us with astonishing freshness and distinctiveness despite the distance of centuries and the unfamiliarity of the literary and social conventions within which they wrote and lived. Although most of the poetry it contains was written and no doubt copied by men, the manuscript was a women’s book. It was owned by Mary (Howard) Fitzroy (ca.1519–1555?) and subsequently by her friend Lady Margaret Douglas (1515–1578). Douglas’s hand and that of another friend and fellow courtier, Mary Shelton (ca.1513–1571), are frequently evident in the manuscript, copying, annotating, commenting, and, most remarkably, entering their own compositions. The Devonshire Manuscript has long been celebrated for preserving many early Tudor courtly poems, particularly those of Sir Thomas Wyatt, an important Henrician poet. But it is just as remarkable for the precious insights it yields into women’s active participation in the production and circulation of verse in the period, not merely as the idealized addressees of courtly verse but also as active readers and responders, collectors, copyists, and contributors. For students interested in understanding women’s participation in the cultural and literary life of the Tudor elite, the value of the manuscript is greatly increased by its singularity. Few manuscripts of verse from the period survive, and among those that do, the Devonshire Manuscript is unique for the richness and variety of the evidence it provides of women’s active involvement.1 For the women associated 1. John Stevens, in Music and Poetry in the Early Tudor Court (London: Methuen and Co., 1961), provides a dated but nevertheless valuable account of early Tudor manuscripts of verse and their social context. His book includes editions of three manuscripts, and Appendix C provides a useful list of others. The most comprehensive list of early Tudor manuscripts of verse appears in William A. Ringler Jr., Bibliography and Index of English Verse in Manuscript, 1501–1558 (London: Mansell, 1992). The “Findern Manuscript,” which belongs to the late fifteenth and early sixteenth centuries and seems to have been produced in a provincial household, also contains fascinating evidence of women’s participation in the circu-

1

2 Introduction with the manuscript, poetry clearly played a central role in honing their courtly skills, articulating their aspirations, and providing pleasure and, at times, solace. That the part of the female courtier was a difficult one, requiring considerable wit and tact, is suggested in Baldassare Castiglione’s account of the arts of courting in The Courtier, first published in Italian in 1528.2 He describes how female courtiers were expected to stimulate and manage the evening pastimes at the Renaissance court of Urbino. Castiglione’s account is an idealized one, but it is at least suggestive of women’s role in the aristocratic and courtly milieu in which the Devonshire Manuscript was produced. Glamorous as it might be, this role was clearly fraught with personal and social dangers. Castiglione’s character Count Giuliano warns the female courtier that “she must observe a certain difficult mean, composed as it were of contrasting qualities, and take care not to stray beyond certain fixed limits.”3 The Devonshire Manuscript has long been known to scholars of Tudor literature, but its significance as a testimony of the central role women played in the practice of courtly verse has only recently been recognized. Since the nineteenth century, the manuscript has been valued mainly as a source for the work of Sir Thomas Wyatt and for the insights it provides into the social context in which he and Henry Howard, Earl of Surrey, produced their poetry.4 In this schollation and possibly composition of courtly verse; see Elizabeth Hanson-Smith, “A Woman’s View of Courtly Love: The Findern Anthology; Cambridge University Library, MS Ff.16,” Journal of Women’s Studies in Literature 1 (1979): 179–94. 2. An English translation by Sir Thomas Hoby, The Book of the Courtier, was published in 1561, but Castiglione’s book was known in England before that date. 3. Baldassare Castiglione, The Book of the Courtier, trans. George Bull, 2nd ed. (Harmondsworth: Penguin, 1976), 212. This comment is quoted by Ann Rosalind Jones in her very valuable discussion of the female courtier’s role: “Nets and Bridles: Early Modern Conduct Books and Sixteenth Century Women’s Lyrics,” in The Ideology of Conduct: Essays on Literature and the History of Sexuality, eds. Nancy Armstrong and Leonard Tennenhouse (London: Methuen, 1987), 39–72 (43). 4. G. F. Nott first printed poems from the manuscript, which had only recently been discovered in the Duke of Devonshire’s library at Chatsworth House, in The Works of the Earl of Surrey and Sir Thomas Wyatt (1815-16; repr., New York: AMS Press, 1965), vol. 2. Many of the poems in the manuscript were included in editions of the work of Sir Thomas Wyatt from the nineteenth century onward. Kenneth Muir and Patricia Thomson, in their edition of The

Introduction 3 arship, women were cast into somewhat stereotyped roles as powerful and unreliable mistresses or as a silent audience for gifted males.5 Only with the secure identification of the handwriting of some of the female hands has a more accurate and detailed assessment of women’s contributions to the manuscript become possible.6 Women’s active participation in the development of the courtly lyric, as writers and adapters, as well as copyists and collectors, significantly alters our perception of the gendered nature of the writing and circulation of such verse. The poetry of the 1530s and 40s would exert a formative influence on the later Elizabethan lyric, primarily through Richard Tottel’s printed miscellany of verse of the period, The Songes and Sonettes, Written by the Ryght Honorable Lorde Henry Haward late Earle of Surrey, and Other, first printed in 1557 and reprinted at least nine times by the 1580s (Tottel’s Miscellany). George Puttenham, writing in 1589, hailed the Henrician generation of poets as a “new company of courtly makers [poets]” who reformed “our English meeter [versification] and stile.”7 But that tradition, as mediated Collected Poems of Sir Thomas Wyatt (Liverpool: Liverpool University Press, 1969), include most of the Devonshire poems but in a form that ignores their context in the manuscript. Even Helen Baron’s ground-breaking analysis in “Mary (Howard) Fitzroy’s Hand in the Devonshire Manuscript,” Review of English Studies 179 (1994): 318–35, focuses on identifying a reliable version of Surrey’s “O happy dames.” For a fuller discussion of the history of scholarship on the manuscript, see pages 30–33 below. 5. See particularly Raymond Southall’s use of the manuscript in The Courtly Maker: An Essay on the Poetry of Wyatt and his Contemporaries (Oxford: Basil Blackwell, 1964), chap. 2, and W. A. Sessions’ account of the genesis of the manuscript in the circle surrounding the poet Earl of Surrey in Henry Howard: The Poet Earl of Surrey; A Life (Oxford: Oxford University Press, 1999), 176–77. While Southall’s analysis is based on some erroneous interpretations of entries and tends to read all the poetry as biographical to some degree, it is an important discussion of the manuscript as a source for understanding the social and political context of the verse of the period. 6. Baron, “Mary (Howard) Fitzroy’s Hand,” was first responsible for systematically identifying the hands of Mary Fitzroy, Margaret Douglas, and Mary Shelton. I independently came to some of the same conclusions as Baron in “Women and the Courtly Love Lyric: The Devonshire MS (BL Additional 17492),” Modern Language Review 90 (1995): 296–313. 7. George Puttenham, The Arte of English Poesie, 1569, facsimile edition (Menstone, Yorks.: The Scolar Press, 1968), 48. When quoting from early sources other than the Devonshire Manuscript, I have not modernized the spelling. However, obscure words are glossed, in square brackets, within the quotation.

4 Introduction through printed collections of verse throughout the sixteenth century, is almost exclusively male. With very rare exceptions, it was the work of male poets that was printed, and the printed volumes were, explicitly or implicitly, most often addressed to male readers.8 The centrality of women to the genre, as participants, recipients, and contributors, was almost entirely erased. This erasure continued into the nineteenth and twentieth centuries with the predominant modern emphasis on creating definitive editions of the authorial texts of male poets. Thus the verse was removed yet farther from the social milieu in which it was produced and in which, as the Devonshire Manuscript shows us, women were in fact central and active participants.

Pastime in the Queen’s Chamber: The Background of the Manuscript From a twenty-first-century perspective, women’s central role in courtly pastime and the verse that was its major currency may seem to confirm the kind of domestic and decorative roles for women that the Other Voice Series seeks to challenge. But such a view is anachronistic. As Castiglione made clear in his depiction of the court of Urbino, women had an important role in European courts and noble houses, where talented and ambitious men and women spent long hours waiting on the whims of their powerful masters and mistresses. The court of Henry VIII’s second wife, Queen Anne Boleyn, who had herself been educated at two of the most sophisticated courts of Europe— namely, that of Margaret of Austria in the Netherlands and that of Queen Claude in France—must have borne some resemblance to Castiglione’s idealized court.9 In such an environment, success, for both women and men, might depend on the judicious display of wit and 8. Tottel’s Miscellany was, for example, addressed implicitly to male (“learned”) readers by the printer; see Hyder Edward Rollins, ed., Tottel’s Miscellany (Cambridge, MA.: Harvard University Press, 1965), vol.1, 2. Wendy Wall has explored the homosocial function of printed sonnet sequences in The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca: Cornell University Press, 1993), chap.1. 9. For Anne Boleyn’s early career, see Eric Ives, The Life and Death of Anne Boleyn (Oxford: Blackwell, 2004), 18–33. On Margaret of Austria’s court, see Ghislane de Boom, Marguerite d’Auriche-Savoie (Paris: Librairie E. Droz, 1935), 121–28.

Introduction 5 courtly accomplishments. Just as crucially, the management of entertainment and maintenance of decorum often devolved on the skills and tact of courtly women.10 One of the stock themes of sophisticated courtly pastime in mixed company was courtly love and its expression through courtly verse and “balets,” song-like verses often sung to existing song or dance tunes.11 The young women of the court must expect to be addressed and courted, often in verse, as the adored mistresses of male courtiers who in return might ask for signs of favor. Such courting belonged to a game designed to refine and codify the social interaction of leisured men and women, “a specialized aspect of the principle of acquiring credit by ‘exposing merit to view’ which dominated the social life of the court.”12 The women who collected and used the verse in the Devonshire Manuscript first met and spent time together as very young ladies-in-waiting at the court of Anne Boleyn. In 1533, Margaret Fitzroy was fourteen; Margaret Douglas, nineteen; and Mary Shelton, in her early twenties. Anne Boleyn’s court gave the women plenty of experience of high-spirited courting. The vice-chamberlain, Sir Edward Baynton, reported to the queen’s brother soon after Anne Boleyn’s coronation: “as for pastime in the queen’s chamber, [there] was never more. If any of you that be now departed have any ladies that ye thought favored you and somewhat would mourn at parting of their servants, I can no whit perceive the same by their dancing and pastime they do use here.”13 At this court, the pastime consisted 10. The use of verse by powerful women to manage their courts and courtiers is well exemplified by both Margaret of Austria and Elizabeth I. On Elizabeth I, see Susan Frye, Elizabeth I: The Competition for Representation (Oxford: Oxford University Press, 1993), esp. 107–14, and Elizabeth’s own poems in Elizabeth I, Collected Works, ed. Leah S. Marcus, Janel Mueller, and Mary Beth Rose (Chicago and London: University of Chicago Press, 2000), esp. 299–309. 11. Stevens, Music and Poetry, 120–21. 12. Anna Bryson, From Courtesy to Civility: Changing Codes of Conduct in Early Modern England (Oxford: Clarendon Press, 1998), 126. For the importance of amorous courting as an aspect of the courtier’s business and social courtship more generally, see Stevens, Music and Poetry, 154–56, and Catherine Bates, The Rhetoric of Courtship in Elizabethan Language and Literature (Cambridge: Cambridge University Press, 1992), esp. chap. 2. 13. Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, 1509–1547 (London: HMSO, 1882), vol. 6, item 613. See also State Papers Online, Gale, Cengage Learning, 2011,

6 Introduction not only of dancing, but also of joking, singing, and composing verse. Nevertheless it was a court that also demonstrated in extreme form the dangers the arts of courting might pose. While much of the poetry in the Devonshire Manuscript was probably copied into it after the disastrous collapse of Anne Boleyn’s court, the events that led to that crisis provide the most vivid context possible for the women’s use of the album. In May 1536, Anne Boleyn was accused of committing adultery with five courtiers, among them her brother, the Earl of Rochford.14 The poet Sir Thomas Wyatt was also under suspicion and imprisoned in the Tower of London, although he was never charged with adultery. The trial of Anne Boleyn and her supposed lovers was constructed entirely out of inferences and innuendo derived from the charged discourse of courtly love and the games that served as pastime in the queen’s chamber; “all the evidence was of bawdry and lechery,” according to one unsympathetic judge at the trial.15 Separate incidents in which the queen rebuked two courtiers, Sir Henry Norris and Sir Francis Weston, for flirting with Mistress Shelton (perhaps Mary Shelton or, possibly, a sister) as a cover for their supposed preference for herself, provides glimpses of the pastime, and perhaps of the increasing hysteria with which it was played as Anne Boleyn lost her power with the king in the early months of 1536. Another of the accused in the queen’s court was a musician, Mark Smeton, who used to play instruments and sing in her chamber. Even the apparently innocent activity of dancing with male courtiers seems to have acquired a sinister innuendo. In the eyes of those unsympathetic or even hostile to the queen, the language of gallant courting could easily be interpreted as bawdry or even as treason. Anne Boleyn’s chaplain, William Latymer, was at pains to present Anne’s attitude to such pastimes rather differently when he assured her daughter Elizabeth that she s.v. “Sir Edw. Baynton to Lord Rochford,” (Gale manuscript document no. MC4301480652), accessed July 27, 2011. The letter is dated June 9, 1533. 14. For accounts of Anne Boleyn’s fall and trial, see Ives, Life and Death, esp. chaps. 22 and 23, and Retha M. Warnicke, The Rise and Fall of Anne Boleyn, 2nd ed. (Cambridge: Cambridge University Press, 1991), 211–29. I take the details in my account below from these studies. 15. Quoted by Ives, Life and Death, 345.

Introduction 7 admonished her ladies that “they shoulde not consume the [time] in vayne toyes [frivolities] and poeticall fanses” and gave commands that “all tryfels and wanton poeses should be eschued upon her pleasure.”16 Mary Shelton figures in Latymer’s report as the lady in waiting who received a particular rebuke for having written “ydill [idle] poeses” in her prayer book.17 That Anne Boleyn did in fact enjoy the lively wit and verse of her courtiers is suggested by a brave punning joke she made when told that her supposed “lovers,” had been brought into the Tower of London without servants to see to their needs. Playing on the similarity of the words “balets” (verses) and “pallets” (beds), she commented that they “might make balettes well now, bot ther is non bot [Rochefor]de can do it.” Here she is referring to her brother’s reputation as a poet. The wife of her warder replied, “Master Wyett [can],” and Anne Boleyn agreed.18 The Devonshire Manuscript contains clear evidence of the pleasure some of Boleyn’s ladies took in “poeticall fanses” and of the ways in which they used and contributed to the courtly verse they collected. Some of the poems reveal their taste for witty, sardonic verse, not all of it in praise of women: misogynist poems appear alongside those in women’s defense. Other poems reflect the women’s passionate identification with some of the ideals of courtly love and the difficulty of maintaining that “certain difficult mean” described by Castiglione’s Count Giuliano. One remarkable series of poems bears witness to the fact that it was not only in the queen’s chamber that pastime threatened to get out of hand. In the aftermath of the execution of Anne Boleyn, a secret betrothal was discovered between Lady Margaret Douglas and Lord Thomas Howard, uncle of Mary Fitzroy, Duchess of Richmond. On this occasion the pastime had dangerously strayed “beyond [the] certain fixed limits” that Count Giuliano prescribed for the female courtier, and as a result both lovers were thrown into the Tower of London (this liaison and its aftermath are discussed below). The disastrous events of 1536 provide the necessary perspective for 16. Maria Dowling, ed., William Latymer’s Chronicklle of Anne Bulleyne, Camden Miscellany, 39 (1990): 23–65 (62). 17. Dowling, William Latymer, 62–63. 18. Letters and Papers, vol. 10, item 798. The incident is cited in Kenneth Muir, Life and Letters of Sir Thomas Wyatt (Liverpool: Liverpool University Press, 1963), 29–30.

8 Introduction modern readers to understand the anguish to which a number of poems in the manuscript refer and to appreciate the vulnerability and danger that could follow from the spirited pleasantries and wit expected of female courtiers.

The Devonshire Manuscript and Its Female Users The Devonshire Manuscript consisted originally of a quarto-size album of blank pages.19 Poems, sometimes singly, sometimes in groups, were copied into the album by various hands over a period of at least ten years between the mid-1530s and the mid-1540s. The poems were not always (and perhaps not even often) entered sequentially; indeed, some poems on later pages were almost certainly entered before poems on earlier pages. The chronologically latest poem (i.e., poem 82) entered in the manuscript appears near the middle and probably dates from the early 1560s. Written by Margaret Douglas’s eldest son, Henry Stewart, Lord Darnley, the poem may have been addressed to his future wife, Mary, Queen of Scots. As I have noted above, most of the copyists were men, and some were no doubt friends of the women who owned and used the manuscript. One or two others may have been professional secretaries. The handwriting of all three women associated with the manuscript shows that they were relatively untrained both in letter formation and spelling.20 However much the women enjoyed reading, memorizing, and perhaps singing the poems, it seems probable that they found copying them out a more arduous task.21

19. A quarto-sized book was produced by folding the papermaker’s large sheet in four to make eight pages. It is half the size of a folio. The term “album” is used to describe a book of originally blank pages in which poems or other matter could be entered. 20. Identification of the handwriting of Margaret Douglas and Mary Fitzroy is based on extant letters in their hands. Baron, “Mary (Howard) Fitzroy’s Hand,” 318, lists specimens of Mary Fitzroy’s handwriting. Margaret Douglas’s entries may be compared to a letter in her hand in British Library, MS Cotton Vespasian F xiii, fol.134b, probably written in 1536; see State Papers Online, Gale, Cengage Learning, 2011, s.v. “ Margaret Dowglas to [Cromwell]” (Gale manuscript document no. MC4301980305), accessed June 17, 2011. Identification of Mary Shelton’s handwriting is based on entries she signed in the manuscript. 21. On the varying levels of female literacy drawn from the evidence of letters, see James Daybell, Women Letter-Writers in Tudor England (Oxford: Oxford University Press, 2006),

Introduction 9 Some evidence about the ownership and date of the manuscript can be deduced from its binding, which is stamped on the front with the initials M F. These are probably the initials of Mary Fitzroy, who married the illegitimate son of Henry VIII, Henry Fitzroy, Duke of Richmond, in November 1533 (both bride and groom were about fourteen years old at the time). W. A. Sessions speculates that the album was a gift to the new Duchess of Richmond from her brother, the poet Henry Howard, Earl of Surrey, who was being educated with the Duke, and goes so far as to suggest that Surrey directed which poems should be entered into it: “the Devonshire Manuscript may be a record of the earl’s own taste.”22 The suggestion that Henry Howard may have given the blank album as a gift is an attractive one, but there is no evidence that it was he who chose the poems entered into it. As we shall see, the manuscript contains only one poem composed by the Earl of Surrey (i.e., poem 81), and that was certainly copied into the manuscript by Mary Fitzroy in the 1540s.23 However the album came into Mary Fitzroy’s possession, it is clear that it was used primarily as a private album for herself and her friends, in particular the other women whose names and handwriting appear in the manuscript: Lady Margaret Douglas and Mary Shelton, both fellow members of Anne Boleyn’s court. The Duke of Richmond died in 1536, but Mary Fitzroy continued to be known by her married name and title. I discuss Mary Fitzroy’s contribution to the album in more detail below. The manuscript makes clear that Margaret Douglas became a key figure in its use and development very early on. If, as seems likely, the manuscript originally belonged to Mary Fitzroy, she may have passed it to her friend during the 1530s. Margaret Douglas was a person of considerable significance at the Henrician court. She was the daughter of Henry VIII’s sister, Margaret Tudor, and the Scottish magnate Archibald Douglas, Earl of Angus, making her Henry VIII’s 91–102. Baron, “Mary (Howard) Fitzroy’s Hand,” 319, quotes Mary Fitzroy’s apology for her “euell hande.” 22. Sessions, Henry Howard, 177. Southall, Courtly Maker, 171, notes that the binding was made in London and can be dated to between 1525 and 1559. G. F. Nott first suggested, on the basis of the appearance of her name on page 164 below, that the album may have belonged to Mary Fitzroy; see The Works, vol. 2, ix. 23. For one piece of evidence for Surrey’s use of the manuscript, see page 14 below.

10 Introduction niece. She was also half-sister to James V, King of Scots, son of Margaret Tudor by her first husband, King James IV of Scotland. Like Mary Fitzroy, Margaret Douglas was one of Queen Anne Boleyn’s ladies, and she and Fitzroy remained friends into the 1540s. The two women were often at court together, and Margaret Douglas was on occasion a guest of the Howard family at Kenninghall in Norfolk.24 The manuscript had certainly passed to Margaret Douglas by the time of her marriage to Matthew Stewart, Earl of Lennox, in July 1544, for it found its way into the Devonshire Library at Chatsworth House, the home of Margaret’s daughter-in-law, Elizabeth Cavendish, and the childhood home of her granddaughter Arabella Stuart. Raymond Southall suggested that the initials S E stamped on the back of the manuscript binding were those of [Charles] S[tewart] (Margaret Douglas’s second son) and his wife E[lizabeth].25 If so, the album may have been a wedding gift from Margaret Douglas, for Charles died just two years after his marriage. The manuscript bears lively witness to Margaret Douglas’s enjoyment of and engagement with the verse that was popular and fashionable in her time. She intervened in what were probably the earliest poems copied into the manuscript, correcting poem 2 and taking over the copying of poem 3 at line 8, although she either misremembered the poem or had an imperfect copy text, for she leaves out two lines. Later in the manuscript, she copied several poems (i.e., poems 59–66), and in an even later section, verses copied by Douglas alternate with those of several copyists, including Mary Shelton (i.e., poems 95–106). Throughout the manuscript she has marked poems with the words “and this” in the margin, perhaps for copying into another manuscript, perhaps for memorizing or recommending to others. On at least one occasion (poem 162) she has marked a poem for singing (“learn but to sing it”). Margaret Douglas clearly shared the sophisti24. See Rosalind K. Marshall’s biography in the online Oxford Dictionary of National Biography (ODNB), s.v. “Douglas, Lady Margaret,” accessed May 31, 2011, http://www.oxforddnb. com. Douglas is recorded as visiting Kenninghall in 1541 when she was sent there after another unsanctioned liaison, on this occasion with Sir Charles Howard, a brother of Queen Katherine Howard. See also Kim Schutte, A Biography of Margaret Douglas, Countess of Lennox (1515–1578), Niece of Henry VIII and Mother-in-law of Mary Queen of Scots (Lewiston, N.Y.: Edwin Mellen Press, 2002). 25. Southall, Courtly Maker, 21. For Arabella Stuart, see Rosalind K. Marshall’s biography in the ODNB, s.v. “Stuart, Lady Arabella,” accessed May 31, 2011, http://www.oxforddnb.com.

Introduction 11 cated taste of her contemporaries for courtly “balets” that often took a wry or sardonic view of love and lovers’ deceits. A rather different attitude to love is evident in a striking group of poems that closely concern Margaret Douglas, although she did not copy them into the manuscript. Poems 41–48 were written in the aftermath of a betrothal contracted, probably in the early months of 1536, between Margaret Douglas and Lord Thomas Howard, uncle of Mary Fitzroy. Neither of the lovers sought the approval of King Henry VIII.26 The two lovers exchanged the poems copied into the manuscript probably in the Tower of London after the affair was discovered following the disastrous events of May 1536. Both were incarcerated in the Tower in July, perhaps occupying some of the cells from which Anne Boleyn and the courtiers accused with her had gone to execution. The relationship between Margaret Douglas and Thomas Howard undoubtedly began and flourished at the queen’s court during 1535 and the early part of 1536. In evidence brought before the official enquiry, it was said that Howard “did resort unto her when my lady of Richmond was present” and that he “would watch till my lady Boleyn was gone, and then steal into her chamber.”27 Margaret Douglas was close in line to the throne, particularly after the bastardization of both the king’s daughters, and was therefore much too valuable a mar26. Bradley J. Irish has described the circumstances of the betrothal and analysed the poems in detail in “Gender and Politics in the Henrician Court: The Douglas-Howard Lyrics in the Devonshire Manuscript (BL Add 17492),” Renaissance Quarterly 64 (2011): 79–114. Sessions, Henry Howard, 117, claims, on the basis of a letter from Margaret’s mother, Queen Margaret of Scotland, that Henry VIII knew of the liaison, but this seems to me to be a misreading of the letter; see Letters and Papers, vol. 11, item 293, and State Papers Online, s.v. “Queen Margaret to King Henry VIII,” dated Aug.12 [1539] (SP 49/4 f.148), accessed June 25, 2011. The lovers may have been betrothed before witnesses, a legally binding ceremony; see Letters and Papers, vol. 11, item 147, and State Papers Online, s.v. “Chapuys to Charles V,” dated July 23, 1536 (Gale document no. MC4301900157), accessed June 19, 2011. For the lasting legal implications of this marriage, see David M. Head, “ ‘Beyng Ledde and Seduced by the Devyll’: The Attainder of Lord Thomas Howard and the Tudor Law of Treason,” Sixteenth Century Journal 13 (1982): 3–6, and Kim Schutte, “ ‘Not For Matters of Treason, but Love Matters’: Margaret Douglas, Countess of Lennox and Tudor Marriage Law,” in In Laudem Caroli. Renaissance and Reformation Studies for Charles G. Nauert, ed. James V. Mehl (Kirksville: Truman State University Press, 1998), 171–87. 27. Letters and Papers, vol. 11, item 48.2, and State Papers Online, s.v. “Lord Thomas Howard,” dated 1536 (Gale document no. MC4301900052), accessed June 19, 2011.

12 Introduction riage pawn in Henry VIII’s international foreign policy to be thrown away on a minor member of the aristocracy, particularly one of the Howards, who, with the fall of their relative Anne Boleyn, fell out of favor. Seventeen months after his imprisonment, Thomas Howard died in the Tower of an “ague” (a fever). Douglas was transferred in the autumn of 1536 to the convent of Sion Abbey and released two days before Howard’s death, in October 1537. On the flyleaf of the Devonshire Manuscript Margaret has signed her name as Margaret How[ard].28 The poems exchanged between the two lovers find in the idealized conventions of courtly love a language that both expresses their commitment to each other and justifies their union in the face of the king’s authority. In poem 47, Howard praises Douglas for her generosity of heart in showing grace to her properly humble (but also sociallyinferior) lover: “ye descend from your degree.” In return he gives her his “faithful, true, and loving heart.” The codes of faithful love, as well as the legal standing of the betrothal, are invoked to challenge even royal authority: Alas methinks they do me wrong that they would have me to resign my title, which is good and strong, that I am yours and you are mine. (Poem 44) Although most of the poems in this group are by Thomas Howard, one is by Margaret Douglas. In it she uses the conventional language of courtly love to express her passionate commitment to her lover and to challenge the authority of the king: With threatening great he hath been ’ssayed, of pain and eke of punishment, yet all fear aside he hath laid; to love me best was his intent.

28. The last three letters are missing as the flyleaf has been torn in half.

Introduction 13 Who shall let me then of right unto myself him to retain and love him best both day and night in recompense of his great pain? (Poem 46) Who copied these poems into the manuscript is an intriguing and important question. If, as Bond originally suggested, the handwriting belongs to Lord Thomas Howard,29 we must assume that all poems copied in this hand were entered into the manuscript before Howard’s death in 1537. Unfortunately, no independent piece of Thomas Howard’s handwriting has been found, so attempts to identify his hand rest on evidence internal to the manuscript. One suggestive detail that points to Thomas Howard as the copyist of poems 41–48 is the fact that the same copyist (hand TH2; see the Table of Hands, pages 45–48 below) has a particular fondness for extracting stanzas from the 1532 edition of Chaucer’s Workes compiled by William Thynne (see poems 91 and 176a–j; see plate 7).30 The concluding poem of the group exchanged with Margaret Douglas (poem 48) also comprises extracts from Chaucer, in this case from Troilus and Criseyde. This poem appropriates Troilus’s despairing complaint to voice Thomas Howard’s own anguish: O very lord, O Love, O god, alas, that knowest best mine heart and all my thought, what shall my sorrowful life do in this case if I forgo that I so dear have bought? Criseyde’s name has been omitted from the manuscript copy, leaving spaces, presumably to be filled with Margaret’s name. It seems unlikely 29. Bond, Edward A, “Wyatt’s Poems,” The Athenaeum 2274 (1871): 654–55. 30. Ethel Seaton first identified the medieval sources of the extracts in “The Devonshire Manuscript and its Medieval Fragments,” Review of English Studies 7 (1956): 55–56. Richard Harrier, “A Printed Source for ‘The Devonshire Manuscript,’ ” Review of English Studies 11 (1960): 54, specified the source of at least fragments 176a–j as Thynne’s 1532 edition of Chaucer’s Workes. For a discussion of the use of extracts from Chaucer in the Devonshire Manuscript in the context of early Tudor attitudes to Chaucer, see Seth Lerer, Courtly Letters in the Age of Henry VIII: Literary Culture and the Arts of Deceit (Cambridge: Cambridge University Press, 1997), esp. 143–60.

14 Introduction that anyone other than Thomas Howard would have added a poem in Howard’s voice to this personal and painful series in a manuscript used, and perhaps already owned, by Margaret Douglas. Another slim piece of evidence that points to Thomas Howard as the copyist is to be found on the flyleaf of the manuscript. Baron has suggested that hand TH2 bears a close likeness to another hand, namely, TH1, that copies another series of poems attributed to Thomas Howard, some of which bear his initials below them (67–70).31 On the flyleaf, above the name Margaret How[ard], someone has written “marayg[ret]” and what appears to be “Th.h[oward].” All but the initial letters of both names have been torn away. The hand that copies these names, especially the “h”s of “Th.h” is suggestively similar to that of TH1, particularly where that hand has entered Thomas Howard’s initials (see plate 1a and b). The fragmentary letters on the flyleaf are too scant to support a conclusive argument, but they do add some additional, albeit small, support to the theory that Thomas Howard copied the poems entered by TH1 and TH2 in the manuscript. One poem relating to the affair is in Margaret Douglas’s handwriting. It was reported that, when Howard died in the Tower in 1537, “she tooke his death very heavily.”32 Her feelings are suggested in a poem entered toward the back of the manuscript in the form of a poetic last will and testament. In it Margaret Douglas summons her father and friends to “this tower … strong and high” to tell them of her determination to die rather than leave “the sweet presence / of him that I have causèd to die” (poem 175). This, like poem 46, is clearly Douglas’s own composition. It is probable that the poet Henry Howard, Earl of Surrey, Lord Thomas Howard’s nephew and Mary Fitzroy’s brother, remembered Douglas’s poem when he described how “for love” his uncle “did end his life in woe / In tower strong and hie for his assured truthe.”33 Surrey might well have read both Douglas’s

31. Baron, “Mary (Howard) Fitzroy’s Hand,” 327, suggests TH1 is a “cursive,” that is, a rapidly written and joined up version of TH2. 32. W. D. Hamilton, ed., Charles Wriothesley: A Chronicle of England, 1485–1559, Camden Society, second series, 11 (1875), vol. 1, 70. 33. Rollins, Tottel, vol. 1, poem 264.

Introduction 15 testament and the poems she exchanged with his uncle in the Devonshire Manuscript.34 The poems that relate to the betrothal between Margaret Douglas and Thomas Howard provide powerful evidence that what may strike modern readers as the hackneyed, even secondhand, language of courtly romance could seem to authorize the Tudor lovers’ challenge to the unsentimental exigencies of power.35 In these poems, the ideals of a lover’s deserving service, a mistress’s mercy, and the sacrosanct virtues of loyalty and faithfulness are taken seriously, with tragic consequences in the real world. At the foot of a poem that celebrates a mutual but ill-starred love (poem 7, copied by hand 1), Margaret Douglas has written a heartfelt “amen.” However, not all Douglas’s contributions treat verse with such high seriousness. In particular, evidence of her shared use of the manuscript with Mary Shelton suggests various kinds of lively engagement with the verse, ranging from marginal comments to stanzas composed almost certainly by the women themselves. Like Margaret Douglas, Mary Shelton’s name appears on the flyleaf of the manuscript. She was a cousin of Anne Boleyn, and, like Margaret Douglas and Mary Fitzroy, attended on the queen before her execution in 1536.36 As we have seen, one anecdote accused her of scribbling “ydill poeses” in her prayer book and linked her amorously with some of the courtiers who were executed with Anne Boleyn. Perhaps more threateningly, court gossip seems to have suggested twice, in 1535 and again in 1538, that she had caught the amorous eye of the king. As the daughter of Sir Ralph and Lady Anne Shelton, who were in charge of the household of the young princesses throughout the 1530s, Mary Shelton continued to be associated with the court after Anne Boleyn’s fall. In 1545, the Earl of Surrey described

34. For the dating of Surrey’s poem to ca. 1542, see Rollins, Tottel, vol. 2, 312. 35. Paul G. Remley, “Mary Shelton and her Tudor Literary Milieu,” in Rethinking the Henrician Era: Essays on Early Tudor Texts and Contexts, ed. Peter C. Herman (Urbana and Chicago: University of Illinois Press, 1994), 40–77 (57). 36. For biographical facts about Shelton, see my entry in ODNB, s.v. “Shelton, Mary,” accessed May 31, 2011, http://www.oxforddnb.com. See also Remley, “Mary Shelton,” 42–46.

16 Introduction her as betrothed to his friend Thomas Clere, in an epitaph he wrote on the latter’s death.37 By 1546 she had married Sir Antony Heveningham. A glimpse of Mary Shelton and Margaret Douglas’s shared enjoyment of verse can be found in poem 8. The first letter of each of the stanzas spells out Mary Shelton’s surname, but the women can be seen as having some fun at its author’s expense. At the end of the poem, Shelton has written a tart note: “Undesired service require[s] no hire” (I did not ask for your service, so it requires no reward from me).38 In the margin, at the head of the poem, Margaret Douglas has commented “forget this,” to which Shelton, more graciously, has replied “it is worthy.” In a later part of the manuscript (poems 83–106), the two women, along with others, have entered stanzas and poems in gaps left in pages on which hand 7 had previously entered a series of poems, some of them by Sir Edmund Knyvet, brother-in-law of Mary Shelton and a cousin of Mary Fitzroy. On some pages (see plate 4), Margaret Douglas and Mary Shelton alternate entries. I discuss some of the poems entered by these women in more detail below (pages 19–23), as they provide evidence that Margaret Douglas and Mary Shelton borrowed lines and ideas to compose verses of their own. It is clear that the women not only collected and copied the poems of others, but also actively responded to that verse, appropriating it for their own use, mining it for poems of their own, and, on occasion, adapting it to articulate specifically female points of view. Poem 106, copied by Mary Shelton, serves as an example of both appropriation and adaptation. Another version of this poem, printed in Tottel’s Miscellany (1557), consists of a male speaker blaming a woman for his miseries in love: “I see how she dothe see / And yet she will be blinde.”39 In Shelton’s version the pronoun “she” is changed throughout to “they”: I see how they doth see / and yet they will be blind” (lines 21–22). The gender of the speaker is thus rendered am37. Henry Howard, Earl of Surrey, Poems, ed. Emrys Jones (Oxford: Clarendon Press, 1964), poem 35. 38. For the possibility that “service” (“sarwes”) in this sentence may be read as “sorrows,” see poem 8, note 47. 39. Rollins, Tottel, vol. 1, poem 207, lines 18–19. Another version, also male-voiced, is in Thomas Proctor’s A Gorgious Gallery of Gallant Inventions (London: Richard Jones, 1578), sig. Fiii.v.

Introduction 17 biguous in Shelton’s version. Line 6 has “and I am one in woe,” whereas in Tottel’s version it is “And I a man in wo.” The differences in Shelton’s version alter its meaning. The poem no longer blames a woman for her unfeeling hard-heartedness but instead expresses the isolation of a possibly female lover who feels surrounded by unkind and disapproving family or friends—a situation more likely to express female experience and one that must have been particularly familiar to Shelton’s friend Margaret Douglas. Mismatches, for example, in line 21 (quoted above), between the pronoun and verb (“they doth see”) suggest that the text from which Shelton was copying originally looked like the version in Tottel’s Miscellany and that she actively altered the pronouns in order to appropriate the poem for herself and her friends. That the poem may well refer not only to Margaret Douglas but also Mary Fitzroy, Duchess of Richmond, is suggested by its position on the page (see plate 5). Above it, across the top of the page, hand 7, the copyist of poems by Edmund Knyvet, has written Mary Fitzroy’s name and that of Lady Margaret Douglas: “madame Margaret / et Madame de Richemont / Je voudrais bien qu’il fût [I dearly wish that it were]” (see page 164 below). These jottings may merely be the result of someone trying out a new pen, but they seem to belong to the period after 1536 when the hopes of all three women had suffered severe setbacks: Anne Boleyn had been executed and Mary Fitzroy’s young husband, the Duke of Richmond, had died, as had, by 1537, Margaret Douglas’s lover Lord Thomas Howard. The jottings imply a sense of regret and loss that must have been shared by both the women and their friends.40 It seems no accident that these nostalgic jottings are immediately followed by a poem in Mary Shelton’s hand that begins “My youthful days are past, / my pleasant years are gone” (poem 106). The only poem copied by Mary Fitzroy into the manuscript is one composed by her brother, Henry Howard, Earl of Surrey: “O happy dames” (poem 81) (see plate 6). The poem is in the voice of a wife complaining of her husband’s absence overseas, and may well have been 40. Letters by Mary Fitzroy make clear her sense of isolation and frustration as she battled throughout the later 1530s, apparently with little help from her father, the Duke of Norfolk, to obtain her jointure after the death of her husband; see my discussion in “Women and the Courtly Love Lyric,” 300 and note 19.

18 Introduction written to be sung (see page 25 below).41 The Earl of Surrey almost certainly wrote the poem for his wife, from whom he was separated on a number of occasions between 1543 and 1546 while on service with Henry VIII’s armies in France.42 It is most likely to have been composed and then copied into the manuscript in the summer or early autumn of 1544.43 Margaret Douglas had been married in July 1544 to Matthew Stewart, Earl of Lennox, but by September he was away fighting in Scotland. Douglas was temporarily reunited with her friend Mary Fitzroy before moving early the following year to her new marital home at Temple Newsome in Yorkshire. In addition, Mary Shelton’s lover, the Earl of Surrey’s companion Thomas Clere, was also on campaign with Henry VIII and the Earl of Surrey in France. In Baron’s words, “Surrey’s poem about the absence of a husband … was peculiarly appropriate to the period June to September 1544 [and] could have been … entered by Mary Fitzroy into Margaret (Douglas) Lennox’s poetry book as a gesture of celebration, commiseration, and valediction.”44

The Poems The nineteenth- and twentieth-century scholarly emphasis on establishing reliable authorial texts as evidence of a poet’s supposed intentions seems far removed from the attitude to verse and authorship evident in the Devonshire Manuscript.45 Names are only sporadically 41. Jonathan Goldberg discusses the significance of this poem in the Devonshire Manuscript in Desiring Women Writing: English Renaissance Examples (Stanford, CA.: Stanford University Press, 1997), 144–63. In spite of arguing (albeit tentatively, but nevertheless mistakenly) that Shelton copied and perhaps composed the poem, he does not see the poem as a gesture of female solidarity (as I do, following Baron). Instead he argues that as the poem places its female speaker in the “active” role of desire, it “also vehiculates male-male desire.” For a response, see my “ ‘Desiring Woman Writing’: Female Voices and Courtly ‘Balets’ in some Early Tudor Manuscript Albums,” in Early Modern Woman’s Manuscript Writing: Selected Papers from the Trinity/Trent Colloquium, ed. Victoria E. Burke and Jonathan Gibson (Aldershot: Ashgate, 2004), 9–31. 42. Elizabeth Heale, Wyatt, Surrey, and Early Tudor Poetry (London: Longman, 1998), 61–63. 43. See Baron, “Mary (Howard) Fitzroy’s Hand,” 329, and Sessions, Henry Howard, 213. 44. Baron, “Mary (Howard) Fitzroy’s Hand,” 329. 45. Scholars have more recently emphasized the social context and the “textual instability and malleability” of manuscript verse in the early modern period; see Arthur F. Marotti,

Introduction 19 attached to poems, and only two copyists, hands 2 and 8, seem to have had confident knowledge, at least in some cases, of the authors of the poems they copied. Both these copyists included groups of poems by Sir Thomas Wyatt, and it is clear, throughout the manuscript, that Wyatt’s poems had particular prestige.46 However, comparison of Devonshire copies of his texts with versions in other manuscripts show that, even in his case, poems were in circulation with many variants. Readers may wish to compare poems 109, 111, and 112, for example, to versions deriving from Wyatt’s own personal manuscript, British Library, MS Egerton 2711, which is used as the basis for most modern editions of Wyatt’s verse. Many of those who copied poems into the Devonshire Manuscript were, like Margaret Douglas and Mary Shelton, amateurs who transcribed poems, sometimes in a more or less garbled form, from other manuscripts or, on occasion, from memory. Sometimes line-endings were ignored, lines were left out, and some poems were abandoned in mid-stanza as memories failed. For the women who collected, read, and enjoyed these poems, their value was not that they were acknowledged masterpieces, although some may have been recognized then, as now, for their high quality, but because they displayed wit and skill or articulated pressing concerns, and because they gave pleasure. They were treasured as essential currency in the games and pastime of social exchange or because they were composed by friends and acquaintances. The ability to contribute new verses to an album, and sometimes to compose them oneself, was a prized skill, and one practiced by Margaret Douglas and Mary Shelton as well as by their courtier friends and family. Arthur Marotti, describing the “malleability” of manuscript verse, has noted that “one of the most striking features of the system of manuscript transmission was its openness to the poetry composed by compilers of collections—in the most general sense, their ‘answer’ Manuscript, Print, and The English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995), esp. chap. 3. See also Julia Boffey, Manuscripts of English Courtly Lyrics in the Later Middle Ages (Woodbridge, Suffolk: D.S.Brewer, 1985), esp. 86, and, for the later seventeenth century, Margaret J. M. Ezell, Social Authorship and the Advent of Print (Baltimore and London: The John Hopkins University Press, 1999), esp. 40. 46. See Richard Harrier, The Canon of Sir Thomas Wyatt’s Poetry (Cambridge, MA: Harvard University Press, 1975), 38–39, on the reliability of hand 2 (which Harrier designates hand B).

20 Introduction or response to the kinds of texts they were reading and gathering.”47 The Devonshire Manuscript shows Margaret Douglas and Mary Shelton responding in just this way to poems in their own collection in order to produce new poems, almost certainly of their own composition. Poem 105, in Margaret Douglas’s handwriting, is a female-voiced poem that blames a fickle (male) lover: The sudden glance did make me muse of him that so late was my friend; so strangely now they do me use that I well spy his wavering mind. Wherefore I make a promise now to break my fancy and not to bow.

5

What could he say more than he did? Or what appearance more could he show always to put me out of dread?48 Lines 5 and 6 of this poem repeat lines 20 and 21 of a conventional, apparently male-voiced, poem copied by Douglas a few pages earlier in the manuscript (poem 95): Wherefore I make this promise now: to break my fancy and not to bow. Margaret Douglas may well be reusing two lines from a poem she had earlier copied to help her compose a poem of her own, responding to poem 95 by voicing a female perspective.49 47. Marotti, Manuscript, Print, 171. 48. Douglas had begun copying this poem on an earlier leaf but crossed it out (see page 160 below). 49. Jane Stevenson and Peter Davidson, eds., Early Modern Women Poets (1520–1700): An Anthology (Oxford: Oxford University Press, 2001), 8, 9–10, have also suggested that this poem (i.e., poem 105) is an original composition by Douglas, on the grounds that its spelling points to a Scottish pronunciation of words. Interestingly, Irish finds evidence of Douglas echoing lines and phrases from Thomas Howard’s prison poems in the poem she wrote in reply (poem 46); see Irish, “Gender and Politics,” 95.

Introduction 21 There is, however, another echo in poem 105. Lines 7 and 8 recall the first two lines from the final stanza of yet another poem copied by Margaret Douglas (poem 65). The final (sixth) stanza of poem 65 is particularly interesting because it seems to have been added to a conventional five-stanza complaint against the false faith and fickleness of a lover. Most such poems in this period are male-voiced and blame women. Only in the sixth stanza does poem 65 shift gear to identify its speaker as a woman blaming male perfidy: What heart could think more than was thought? 31 Or tongue could speak more than was spoke? 32 Yet what for that? All was for naught, for he is gone and slipped the knot. Whereby I see before my eyen another has that once was mine. Margaret Douglas’s handwriting in the sixth stanza is much larger, apparently done with a thicker point to her pen, and messier (see plate 3).50 I suggest that she added this stanza to poem 65, sometime after she had copied the first five stanzas, in order to change it to a femalevoiced complaint, and that she then reused the formula of lines 31 and 32 for her own female-voiced composition (poem 105). We can, I suggest, see Mary Shelton engage in a similar process of adaptation and composition. Poem 96, copied by hand 7, is a stanza about the need to hide one’s feelings: In places where that I company I go saying I live full merrily, yet oft times to cloak my care and pain I make my countenance to be glad and fain when that my heart weepeth and sigheth full bitterly.

5

I speak by that and mean by this.

50. Perhaps at the same time as she copied poem 175, which seems to be written with a similar penpoint; see my discussion in “Women and the Courtly Love Lyric,” 308.

22 Introduction Two pages on, Mary Shelton copied a stanza on cloaking grief that seems to be a response to this poem (poem 100; see plate 4). Where the speaker of the first poem advised cloaking his care and pain (line 3), Mary Shelton’s female speaker is unable to do so. Her poem concludes: “that though I would, yet lack I might / to cloak my grief where it doth grow.” On the next page, another poem (poem 102), also in Mary Shelton’s handwriting, returns to the theme of cloaking, this time coming to a different conclusion: for once in rain I wore an hood— well they were wet that bare head stood. But since that cloaks be good for doubt, the beggars’ proverb find I good: better a patch than a hole out Since experience shows that if you go uncovered you will get wet, it is better to wear a cloak (counterfeit your feelings); as the beggars’ proverb says, better a patch than a hole. While it cannot be proved, it seems likely that Mary Shelton composed both poems in response to poem 96, which was copied into the manuscript by a friend.51 After poem 102 she made a disparaging comment on her effort: “rhyme doggerel—how many mile to Michaelmas?” We certainly know that Mary Shelton was fond of such “doggerel” rhymes. After poem 105, which, I have argued, was composed by Margaret Douglas, Shelton has written: hap have bidden my hap a-wanting 52 In these examples, we can, I think, see Margaret Douglas and Mary Shelton participating freely and actively in the manuscript culture of the courtly verse of their time. Not only are they central to the culture of leisured pastime to which the poetry belongs, but they actively 51. Hand 7 copies poems by Sir Edmund Knyvet, Mary Shelton’s brother-in-law. 52. Chance has ordained that I will have no luck. See also poem 37, a doggerel rhyme copied and signed by Mary Shelton.

Introduction 23 promote and develop it, copying, answering, appropriating, altering, adapting and composing verses for themselves. The manuscript contains abundant evidence that composition was commonplace in the circle associated with the three women, which may have included on its peripheries Wyatt himself. At least two poems by Sir Edmund Knyvet, brother-in-law of Mary Shelton and cousin of Mary Fitzroy, are copied into the manuscript by hand 7 (poems 89 and 97), and Mary Shelton copied a third (poem 92), which is credited to Knyvet in another manuscript.53 The poem copied by Shelton adopts the provocatively misogynist themes that were so typical of the courtly verse of this time and that I shall discuss below. Sir Anthony Lee, who is credited with at least one poem in the manuscript (poem 13, but see also poem 34), was the brother-in-law of Wyatt and may well have been familiar to members of Anne Boleyn’s court. A poem that appealed to two different copyists, “The knot which first my heart did strain” (poems 38 and 52), is attributed to someone called “John” (poem 35). Other poems clearly contributed by friends of the women include one (i.e., poem 8) in which the initial letters of each stanza spell out SHELTUN and poems signed with pseudonyms that make coy allusions to acquaintances or suggest a kind of guessing game: “nobody” (poem 9); “somebody” (poem 10); “Causeles” (poem 93). Margaret Douglas’s lover, Thomas Howard, was clearly a prolific and enthusiastic composer of verses. In addition to the poems he wrote to Margaret Douglas in the Tower, a group of four other poems in the manuscript seem to be composed by him (poems 67–70). All four poems have been copied into the manuscript by hand TH1 and three seem to have been composed before the debacle of 1536.54 Although only two of these very competent poems are signed with the initials T H (poems 68 and 70), poems 67 and 69 share such striking stylistic similarities that they also are likely to have been composed by Thomas Howard. Three of the poems (67–69) go out of their way to display their wit. They show a fondness for word play and a delight in logical conundrums. Poem 68, for example, plays on the root words “please,” “kind,” and “friend,” and the whole poem is structured to imi53. Ruth Hughey, ed., The Arundel Harington Manuscript of Tudor Poetry. (Columbus: Ohio State University Press, 1960), vol. 1, poem 10. 54. For a discussion of the possible identity of hand TH1, see page 14 above.

24 Introduction tate a logical proof: “These two approved, approve the third” (line 15). Poem 69 plays dizzyingly with “hap” and “hope,” among other words, as poem 67 does with the word “will.” Poem 67’s conceit depends on the “marvel” of a logical impossibility: how can joy and pain agree and be found in one place? The poems, in fact, appear to be the clever and talented contributions of a very young man to the witty, high-spirited pastime of the court in which verse and its composition were central.55 The final poem (70) is a much briefer quatrain that may possibly allude to the period after Howard’s betrothal to Margaret Douglas was discovered. Poem 67 is a typical “balet.” It is witty and takes the form of a song with a “burden” or refrain; it seems, in fact, to be designed for performance. This is an aspect of Henrician courtly verse easily overlooked in modern editions; many of the poems that we now read may have been sung solo or with harmonized voices, perhaps performed to the lute or arranged to fit popular tunes of the day.56 Singers could be, and undoubtedly often were, amateurs, but Anne Boleyn is known to have had the musician, Mark Smeton, available in her chamber to play on the lute and, no doubt, to sing courtly songs. Courtly poems of the period are often songlike and sometimes extensively use imagery of playing on an instrument or singing (for example, poems 98 or 151, line 25), although this is not, in itself, evidence that these poems were actually sung. The Devonshire Manuscript provides us with some evidence that at least a few poems were intended for singing, some of them by the women themselves. Margaret Douglas specifically identified one poem as a song by noting against it “learn but to sing it” (poem 162). An annotation under another poem may refer to the name of a popular song to whose tune the poem (poem 21) could be adapted; names of songs that suggest tunes to which poems might be sung accompany other poems in Tudor manuscripts and printed

55. Thomas Howard was born ca.1512 and thus was in his very early twenties in 1535. See the biography by Michael Riorden in the ODNB, s.v. “Howard, Lord Thomas,” accessed May 31, 2011, http://www.oxforddnb.com. 56. The best discussion of the role of music in relation to Henrician courtly verse is Stevens, Music and Poetry, 116–43, 278–95. Stevens suggests that most courtiers did not have advanced musical skills (111–13). Henry VIII himself was exceptional in this respect.

Introduction 25 editions.57 In some cases, evidence suggests that poems contained in the manuscript were associated with music in earlier or later Tudor documents: Wyatt’s “Hey Robin, jolly Robin” (poem 39) seems to be an adaptation of an earlier song set to music by the court musician, William Cornish. It appears again as a song in Shakespeare’s Twelfth Night, sung by Feste. The Earl of Surrey’s “O happy dames” survives in a number of manuscript songbooks dating from soon after its composition (see poem 81 and footnote 492). Other Devonshire Manuscript poems given musical settings in later manuscripts, perhaps implying a tradition that they were sung, are poems 14, 98, and 114. Some of the entries in the manuscript suggest that part of the evening’s pastime required women to participate in a game of misogynist abuse and defense. Evidence for such after-dinner games exists elsewhere in sixteenth-century documents. Edward Gosynhill, who published an attack and a defense of women in the 1540s, claimed that he wrote “that the masculine might hereby / Have somewhat to jest with the femini[ne],” that is, to provide ammunition for a game that depended on provoking women.58 A poem by Richard Hattfield, copied into the manuscript, no doubt contributed to just such entertainment (poem 26). The poem depends on its punctuation; read according to its lineation, the poem appears to praise women, but read according to its internal punctuation, it actually blames and insults them (see plate 2). Such social jesting had a long history.59 Thin wooden trenchers with verses painted on them survive from later in the sixteenth century. Designed to hold cheese or sweetmeats for the final course of the meal, once empty, they would be turned over to 57. See Stevens, Music and Poetry, 124 for some examples. The poem that Douglas marked for singing has the name of a song tune written beneath it when it appears in another manuscript; see my note to poem 162 (footnote 969). 58. Quoted from Katherine Usher Henderson and Barbara F. McManus, eds., Half Humankind: Contexts and Texts of the Controversy about Women in England, 1540–1640 (Urbana and Chicago: University of Illinois Press, 1985), 155; see the Introduction to this anthology for a discussion of the controversy in print. See also Linda Woodbridge, Women and the English Renaissance: Literature and the Nature of Womankind, 1540–1620 (Brighton, Sussex: Harvester Press, 1984), 30–31. 59. Boffey, Manuscripts of English Courtly Lyrics, 18–19, describes a fifteenth-century manuscript containing courtly verse “as part of a humorous debate on the nature of love and women.”

26 Introduction reveal their verses, some of which suggest just such a game of abuse and defense.60 The manuscript contains a curious series of stanzas that may have been gathered as ammunition for the women to use in reply to such ostensibly jesting attacks (see plate 7).61 The stanzas (176a–j), copied at the very back of the manuscript by hand TH2 (possibly Thomas Howard’s own hand), are all drawn from a favorite source for this copyist, namely, the 1532 printed edition of Chaucer’s Workes, which included poems not actually by Chaucer. Whoever copied the stanzas sought out extracts that present women in positive terms and blame men for slandering them. A number of the stanzas are taken from texts that articulate a female point of view, such as Hoccleve’s Letter of Cupid, a fifteenth-century translation of a work by Christine of Pisan, and Chaucer’s Troilus and Criseyde and Anelida and Arcite. In one of the extracted stanzas, Anelida exclaims: Where is the truth of man? Who hath it slain? She that them loveth shall them find as fast as in a tempest is a rotten mast! (176g) Criseyde makes a similar accusation:



Wicked tongues been so pressed to speak us harm, eke men been so untrue, that right anon as ceased is their lust so ceaseth love and forth to love, anew. (176i)

60. For example, sets in the British Museum, registration nos.1888,1110. 45a and f, or 1921,0216. 35d or m. Descriptions of the trenchers can be found on the British Museum’s online collection database, s.v. “trenchers,” accessed May 31, 2011, http://www.britishmuseum.org. See Malcolm Jones, “ ‘Such Pretty Things Would Soon Be Gone:’ the Neglected Genres of Popular Verse, 1480–1650,” in A Companion to English Renaissance Literature and Culture, ed. Michael Hattaway (Oxford: Oxford University Press, 2000), 442–63 (448–50). 61. Lerer, in his discussion of these stanzas, reads them as a “miniature epistolary exchange” rather than as contributions to a game of blame and praise of women; see Lerer, Courtly Letters, 151–57 (151).

Introduction 27 Where a text did not provide a suitable point of view, the copyist was not averse to altering it. An extract from a poem called The Remedy of Love has been so altered that the line “the cursydnesse yet and deceyte of women” becomes instead “the faithfulness, yet, and praise of women” (176c). The stanza is thus turned from abuse of women to their praise. A cynical view of love and of the faithlessness of fickle mistresses is undoubtedly a major theme in the fashionable new verse that the women collected so avidly in the manuscript. The acknowledged master of this new tone was Wyatt. His “Now farewell, Love”(poem 138) is typical of such verse. It uses a form, the sonnet, that was the epitome of the new sophisticated Italianate verse of the period, but it takes a perspective that is far from the idealizing mode of the Petrarchan sonnet. Blind love has caused the poet’s ruin, leading him into error and wasting his time. The poet concludes with a breathtaking sexual insult: “Me list no longer rotten boughs to climb.” In her study of the genre of attacks on and defenses of women, Linda Woodbridge rightly points out that misogyny was “a tool for asserting and maintaining superiority.”62 The popularity of such themes in the verse of the 1520s and 30s undoubtedly has more to do with the deceptions and frustrations of courtly advancement than it has to do with women.63 Cynicism about love and its objects provided for these ambitious male courtiers an assuaging fictional discourse in which anxieties about failure, betrayal, and subjection to the fickle favor of patrons could be transformed into witty, retaliatory verse that fantasized about undeserved humiliation at the hands of women. A proverb that frequently recurs in the poetry of the Devonshire Manuscript is “Try before you trust.”64 In poem 34, line 7, it is used of women, but in such poems as 156, line 14, and 163, 62. Woodbridge, Women and the English Renaissance, 32. See Heale, Wyatt, Surrey, 46–49, and her “Misogyny and the Complete Gentlemen in Early Elizabethan Printed Miscellanies,” The Yearbook of English Studies 33 (2003): 233–47. 63. That the language of love could figuratively refer to the ambitions and frustrations of political service at court was first suggested in two influential articles: Arthur F. Marotti, “ ‘Love Is Not Love’: Elizabethan Sonnet Sequences and the Social Order,” English Literary History 49 (1982): 396–428, and Ann Rosalind Jones and Peter Stallybrass, “The Politics of Astrophil and Stella,” Studies in English Literature 24 (1984): 53–68. 64. M. P. Tilley, A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries (Ann Arbor: University of Michigan Press, 1950), T595.

28 Introduction lines 6–7, it speaks to a more general uncertainty and even paranoia, and in poem 19, line 28, the warning could as readily be applied to the fickle turns of fortune as to the fickleness of women. It is perhaps not surprising that a poetic of cynicism and paranoia developed at the Henrician court of the 1520s and 1530s, with its sudden changes and betrayals—political, religious, and sexual.65 The Devonshire Manuscript shows us that women robustly copied misogynist verse, and may have shared in its provocative pleasures. Margaret Douglas’s version of poem 64 includes a particularly abusive stanza (lines 23–27) that was omitted when the poem was copied into the manuscript by hand 8 (poem 147). Mary Shelton also copied a poem (poem 92) that contains the cynical “try before you trust” proverb and possibly also the same rude insinuation that women are rotten boughs that Wyatt used in “Now farewell, Love.” Men, this poem warns, are misled by the “wonted kind” [the habitual nature] of women “to trust ere they do prove, / and fall when they would climb.” What is clear, however, is that the women also actively defended themselves, and were encouraged to do so by whoever copied the stanzas from Thynne’s edition of Chaucer at the back of the manuscript (poems 176a–j). Women may have felt constrained to participate in a provocative game of misogynist attack, but they gathered ammunition to respond in kind, and, as we have seen, composed their own poems expressing female points of view. Nevertheless, as Woodbridge points out, misogyny, even in the service of courtly jesting or of a fiction intended to sublimate the political frustrations and betrayals of ambitious courtiers, perpetrates dangerous stereotypes.66 Certainly it was just such stereotypes about women’s nature that underpinned the accusations against Anne Boleyn in 1536 and seemed to so many onlookers and commentators to give those accusations the ring of truth. The year 1536, marked by tragedy for all three women connected with the manuscript, must have made it painfully clear to them particularly starkly that disparaging views about women’s “wonted kind” were not always a jesting matter, and that real power lay not with the hard-hearted and fickle mistress blamed in so many 65. For an extreme, perhaps parodic, example, see poem 156. 66. Woodbridge, Women and the English Renaissance, 32.

Introduction 29 courtly poems, but in the hands of the men—in particular, of the king, fathers, and brothers—who controlled their lives. As oppressive and dangerous as court culture and politics may have been for women, Margaret Douglas and Mary Shelton fully engaged with the manuscript’s verse and took an active part in the playful and sometimes passionate exchanges that verse implies. A significant number of poems in the manuscript are written from a female point of view, and many of these express attitudes very different from the fashionably skeptical, misogynist themes of so many of the malevoiced poems Margaret Douglas and her friends collected, and clearly enjoyed. The medieval stanzas gathered at the end of the manuscript might well have been ammunition in a witty game of blame and defense between the sexes, but some eloquently articulate a generous and idealized view of erotic love: Alas! What should it be to you prejudice if that a man do love you faithfully, to your worship eschewing every vice? So am I yours, and will be, verily. (176e) In the words of Criseyde, extracted in stanza 176j, those who call love vicious or a form of thralldom, “defamen love as nothing of him know; / they speaken, but they bent never his bow.” These stanzas may well have been gathered and copied by a man, but evidence that Margaret Douglas, at least, embraced such sentiments can be found in her own verse. In “Now that ye be assembled here” (poem 175), she passionately asserts that her “offence” should be freely pardoned, since it proceedeth of lover’s fervence and of my heart’s constancy. Let me not from the sweet presence of him that I have causèd to die.67 While individual poems articulate female attitudes to heteroerotic love, the manuscript as a whole also tells us much about mutual female friendship. Margaret Douglas and Mary Shelton shared 67. See also, for instance, poems 46 and 86.

30 Introduction an album that seems originally to have belonged to Mary Fitzroy. The two women commented on verses together (poem 8), copied the same poem (poems 83 and 87), and entered verses alternately on the same page (poems 99–102). As we have seen, Mary Shelton’s altered version of “My youthful days are past” (poem 106) seems to respond to the nostalgic lines written above it in the manuscript (see plate 5). In this context, Shelton’s version reads like a sympathetic comment on the experiences of Margaret Douglas and Mary Fitzroy, turning a sardonic male-voiced poem into one that inscribes the isolation and anguish all three women must have felt in the years following 1536 as a disapproving patriarchy watched their every move. Finally, the one entry by Mary Fitzroy, her copy of her brother’s female-voiced poem, “O happy dames,” can serve, as Baron suggests, as a gesture of commiseration intended for Mary Shelton and Margaret Douglas as well as other female friends whose lovers and husbands were overseas fighting in Henry’s wars.68 The poem may also have been a goodbye gift from Mary Fitzroy, the original owner of the album, to her longstanding friend Margaret Douglas, who was leaving to take up married life in Yorkshire, carrying the shared album with her.69

Afterlife of the Text Since the sixteenth century, interest in the Devonshire Manuscript has largely focused on its value as a source for Wyatt’s poems. G. F. Nott first used it for his important edition of Wyatt’s poems printed in 1816. He described the manuscript as having been “recently discovered” in the Duke of Devonshire’s library at Chatsworth House. He notes that it was in its original binding and “entire with the exception of one or two leaves.”70 Nott recognized in the manuscript the name of Mary 68. Baron, “Mary (Howard) Fitzroy’s Hand,” 329. 69. After the death of Henry VIII, Margaret Douglas and Mary Fitzroy were to take opposite sides in the growing religious divide. Mary Fitzroy became a major patron of Reformist writers and preachers, keeping her distance from the court of the Catholic Mary Tudor. Margaret Douglas, however, was a Roman Catholic and continued to be a favorite of Mary Tudor when she became Queen Mary 1. See the biographies of the two women in the ODNB, s.v. “Douglas, Lady Margaret,” and “Fitzroy, Mary.” 70. Nott, The Works, vol. 2, vii.

Introduction 31 Fitzroy, Duchess of Richmond, and thought it contained her handwriting more extensively than it does. He also recognized the names Mary Shelton and Margaret, although he did not identify the latter as Margaret Douglas. Nott had possession of the manuscript at his death, and it was subsequently acquired by the British Museum (now the British Library) in 1848. It still retains its original binding, but it has been conserved and repaired, presumably when it was acquired by the British Museum.71 It was not until 1871 that Edward A. Bond identified the name Margaret How[ard] on the flyleaf of the manuscript and explained the significance of the poems exchanged between Margaret Douglas and Thomas Howard.72 Bond conjectured that the poems were copied in Thomas Howard’s own handwriting and that therefore they must have been entered into the manuscript before 1537. In 1947, Kenneth Muir printed all the poems contained in the manuscript that had not previously appeared in editions of Wyatt’s verse.73 Throughout the twentieth century, scholars primarily interested in establishing the Wyatt canon tried to identify the hands that copied poems into the manuscript. Southall recognized the importance of the women who used the manuscript and realized that it provided fascinating insights into the social context of the poetry of Wyatt and his contemporaries.74 Harrier provided a more skeptical analysis of the manuscript and its hands, but he was primarily interested in establishing the authority of those hands that had copied Wyatt poems and not in the manuscript itself.75 Study of the manuscript has been transformed by Helen Baron’s careful analysis of the different hands, on which I depend in this edition. She, however, was primarily interested in the manuscript as a source for Surrey’s “O happy dames.” Since the 1980s, a renewed interest in evidence of early modern women’s writing has 71. Southall, Courtly Maker, 22 and 171. 72. Bond, “Wyatt’s Poems,” 654–55. 73. Kenneth Muir, “Unpublished Poems in the Devonshire MS,” Proceedings of the Leeds Philosophical Society, Literary and Historical Section 6 (1947): 253–82. 74. Southall, Courtly Maker, esp. chapter 2 and Appendix 2. Southall identified Mary Fitzroy as the copyist of her brother’s poem in an article that was published at the same time as Helen Baron’s independent identification of the hand. See Southall, “Mary Fitzroy and ‘O Happy Dames’ in the Devonshire Manuscript,” Review of English Studies 179 (1994): 316–17. 75. Harrier, Canon, 23–54.

32 Introduction led to new research into the activities of the women associated with the manuscript. Paul G. Remley focused on Mary Shelton’s contributions, but unfortunately his study followed Southall in attributing to Shelton hands that are not in fact hers, leading him to misinterpret her role.76 My own analysis of the manuscript, in the early 1990s, led to my independently reaching the same conclusions about the hands of the three women in the manuscript as Baron had done.77 Most recently Stevenson and Davidson have printed two poems as Margaret Douglas’s own work and suggested that the appearance of Scots orthography in the manuscript might support palaeographic identification of her hand, making “Lady Douglas the most identifiable author” in the collection.78 Baron described the Devonshire Manuscript as “this delightful anthology bristling with tantalizing clues.”79 Although the contributions by the three identified women are now agreed on, the other hands remain unidentified. A digital edition of the manuscript, with its original spelling, is now being prepared by Raymond G. Siemens, Professor of English, and his research group at the University of Victoria, Canada, with the hope that it will throw new light on, and help to attract more attention to, this unique and fascinating document.80 In a recent biography of Sir Thomas Wyatt, Nicola Shulman describes the Devonshire Manuscript as “the Facebook of the Tudor court.”81 This description may distort both the use and circulation of the manuscript, but it is certainly thought-provoking. All the more ironic, then, that this manuscript of friendship and exchange is now, of necessity, a restricted-access manuscript in the British Library, carefully encased 76. Remley, “Mary Shelton.” 77. Heale, “Women and the Courtly Love Lyric.” 78. Stevenson and Davidson, Early Modern Women Poets, 7–10 (their italics). 79. Baron, “Mary (Howard) Fitzroy’s Hand,” 324. 80. Ray Siemens and his team have published a description of the manuscript, an account of some of the digital tools they are using for its analysis, and illustrations of their results, in “Drawing Networks in the Devonshire Manuscript (BL Add 17492): Toward Visualizing a Writing Community’s Shared Apprenticeship, Social Valuation, and Self-Validation,” Digital Studies / Le champ numérique 1, no. 1 (2009), accessed September 10, 2011, http://www. digitalstudies.org. 81. Quoted in a review of Nicola Shulman’s Graven with Diamonds: The Many Lives of Thomas Wyatt, Courtier, Poet, Assassin, Spy (London: Short Books, 2011), in the Times Literary Supplement, June 1, 2011.

Introduction 33 in a special box with its binding hidden by a leather wrapper. It is my hope that the present volume, which is the first print-published edition of the manuscript, will make it available to a readership as lively and appreciative as its first users. • Since I completed this edition, Professor Jason Powell of Saint Joseph’s University in Philadelphia has kindly brought to my attention his discovery of some writing and other marks inscribed into the manuscript with a “dry” or “hard” point, that is, with a pointed metal stylus that indents an inkless impression on the paper page. Six lines of varying lengths and rhythms, some of which rhyme, are written in the blank space below the final stanza of poem 52 (leaf 33v): If you had need of me I am not as I show; yours to command where so ever I go; no less nor more than I was before. The lines are in an early sixteenth-century hand. There are also a number of crosses, perhaps marking poems for noting or copying, impressed into the paper against some of the poems copied by scribe 8. These lines and marks seem to be consistent with the informal use of the manuscript, noted in my Introduction, in which various members of the circle associated with Lady Margaret Douglas entered whole poems, odd lines, and stanzas or marked the entries of others for their own use. Professor Powell intends to publish full details of his findings at the earliest opportunity.

Editorial Principles and Practices The aim of this edition of the Devonshire Manuscript is to provide a modern-spelling text of the poems to make them as readily available to modern readers as possible. However, I have tried to preserve some

34 Introduction aspects of the informal and idiosyncratic nature of the manuscript as an album shared by Lady Margaret Douglas, Mary Shelton, and their friends. Because capital letters were not normally used in this period to begin lines of manuscript verse, I have reserved my use of them for the first word of each sentence within the poems. My practice is partly motivated by the desire to retain a sense of the verse’s fluidity, an effect enhanced by the absence of capitals at the start of each line. While it is not possible to follow the variety of ways in which poems are set out in the manuscript, I have retained some variation by following copyists in whether to indent lines or set off refrains. Similarly, I have included all marginal marks and annotations that seem to me at all significant. By retaining such features of layout and by keeping punctuation to a minimum, I have tried to capture in print at least a flavor of the informal appearance of the poems in the manuscript. Footnotes to the poems explain difficult words and lines and give contextual information. When, on occasion, I provide variant lines or missing passages for Devonshire poems in footnotes, I use modernized spelling. In all other quotations from early texts, I use the original spelling (with obscure words explained). Punctuation in manuscript verse of this period is usually either non-existent or follows principles unfamiliar to modern readers (for example, to emphasize the rhythm or form of the poem). In addition, sixteenth-century manuscript punctuation often employs marks that are no longer used (for example, a forward-sloping slash or virgule “/”). In the spirit of the original poems’ minimal punctuation, I have used as little as is compatible with making the meaning of the texts clear. Adding modern punctuation to Tudor manuscript verse often entails making decisions about the meanings of lines and stanzas that in their original form allow greater ambiguity. Occasionally such ambiguity is fruitfully exploited, as in the striking example of poem 26 (see plate 2 and my discussion on page 25). More typically, the lack of punctuation produces minor uncertainties of meaning, as in lines 33–35 of poem 11: Right sore my sorrows shall increase unless I may her love obtain I must endure always in pain

Introduction 35 Line 34 is ambiguous, with its function depending on where the reader pauses. If a pause (a full stop or semicolon) is placed at the end of line 34, the line qualifies the statement in line 33. If, however, a full stop or (as in my edition) a semicolon is placed at the end of line 33, the next two lines make a unit, with line 34 qualifying the statement in line 35. There is no punctuation in the original, leaving the precise meaning to the reader’s judgment. The sense of fluidity produced by the relative absence of punctuation in the manuscript is further increased, as I have suggested, by the absence of capital letters at the beginning of each new line of verse. An interesting contrast is the latest poem copied into the manuscript (poem 82, composed and written by Lord Darnley in the 1560s). This is a very carefully written and formal entry, with a capital letter at the beginning and punctuation at the end of every line. A number of my editorial insertions into the texts of poems need to be explained. First, where a word appears to have been omitted from the Devonshire copy by mistake, I have, if possible, inserted it (enclosed in square brackets) from another copy. Second, although quotation marks are never used in the manuscript, I have added them on several occasions where, for example, there are different voices (as in poem 147 in which the complaint of a lover is overheard by a narrator) or lines are presented dramatically, as though spoken (as in poem 125). Third, I have added an accent to a past participle (for example, “thankèd”) where the original spelling (“yd” or “id”) would have stressed the final syllable. In some cases, however, hand 8 uses “id” when, to modern ears, stressing the last syllable seems to spoil, rather than enhance, the rhythm. In these cases I have not added an accent. Where the Tudor copyist has written “ed” (rather than “yd” or “id”), I have left it to the reader to judge whether the rhythm requires the final syllable to be stressed. For ease of reference, I have numbered the poems and added line numbers. At some point after the sixteenth century, each page or leaf in the manuscript containing writing was numbered. I provide these numbers in square brackets in my text—for example, [19r] (for the recto or front of leaf 19) and [19v] (for the verso or back of leaf 19)—as most critical discussions of the manuscript refer to poems by their first line and leaf (or folio) number.

36 Introduction Crucial to the sense of the Devonshire Manuscript as an album of popular and fashionable verse shared and enjoyed by a circle of friends are marginal annotations and marks, and, on occasion, comments and scribblings inserted between or below poems in the manuscript. Throughout the manuscript, Margaret Douglas has marked poems with the phrase “and this,” perhaps for copying into another manuscript, for learning, or as a mark of approval. She has marked poem 162 “learn but to sing it.” On another, poem 8, she has written in the margin “forget this,” and Mary Shelton has replied “it is worthy.” In addition to Margaret Douglas’s marginal annotations, there are signs or letters marking some of the poems (perhaps for copying elsewhere, perhaps as a sign of approval). At least two of these, an “r” or “3” (       ) and a terminal “s” ( ) appear, from the letter forms, to belong to the same period as the manuscript.82 A third in the form of a hache (   ) is more difficult to date.83 I have included these marks because they contribute to a sense of how the manuscript was read, reread, enjoyed, marked, and valued. On two occasions, copyists have added charming little drawings to their copies: a heart in poem 27 and a hand below poem 108 (perhaps to fill up a space at the bottom of a page). I have retained these in my edition. I use footnotes to indicate the copyist for each poem (see Table of Hands). I also indicate in which other Tudor manuscripts or sixteenth-century printed books versions of the poem can be found. Except where it has been necessary to make sense of the Devonshire text, I have not attempted to record variations from other versions. Nevertheless, I hope that some readers are inclined to use this edition to compare different versions of poems that appear both in the 82. Siemens and his team consider the first mark to be a “3.” In Siemens et al, “Drawing Networks in the Devonshire Manuscript” (no pagination), the “s” mark is considered to be in Douglas’s hand, but I am not convinced. The terminal “s” is described by Southall, Courtly Maker, 173, as an abbreviated form of “sequitor” (i.e., to be followed). He suggests that when it is used after the “finis,” it indicates that more poems are to follow. The sign is mainly used by hands 2, 4, and 8; they may use it in this way, but none is wholly consistent in his/her usage. 83. Helena Mennie Shire has described a similar mark in a mid-seventeenth-century Scottish manuscript as “a musical sharp,” and suggested “such marking appears to mean ‘there is music for this piece.’ ” See Shire, Song, Dance, and Poetry of the Court of Scotland Under King James VI (Cambridge: Cambridge University Press, 1969), 230n1.

Introduction 37 Devonshire Manuscript and in other manuscripts or early printed editions. Modern printed editions of many of the Tudor manuscripts can be found in my bibliography. As I noted above (pages 18–19), modern interest in early manuscript verse has evolved from an exclusive interest in reconstructing a supposedly definitive text of an author’s writing to the recognition that manuscript verse in this period was freely changed, added to, appropriated, and imitated by readers who may often not have known or cared who had originally composed the verses. Comparing different versions can often reveal how fluid the texts of early modern poems were, with copyists altering—sometimes deliberately, sometimes inadvertently—the poems they copied. A particularly interesting example is Mary Shelton’s version of poem 106 (see above pages 16–17), but some of the Wyatt poems in the Devonshire Manuscript (for example, poems 109, 111, 112, 127) may be fruitfully compared to versions in Wyatt’s own manuscript, now British Library, MS Egerton 2711, which forms the basis of most modern editions of Wyatt’s poems.84

84. Harrier, Canon, Part 2, provides a scholarly edition of the Egerton manuscript.

Illustrations

Plate 1a. Leaf 47v (poem 70). Lord Thomas Howard’s initials, possibly in his own hand.

Plate 1b. Lord Thomas Howard’s initials on the front flyleaf.

38

Illustrations 39

Plate 2. Leaf 18v (poem 26). Punctuation poem by Richard Hattfield.

40 Illustrations

Plate 3. Leaf 44r (final two stanzas of poem 65). The stanza in the middle of the page shows the change in pen and in the size of Lady Margaret Douglas’s writing.

Illustrations 41

Plate 4. Leaf 65r (poems 99 and 100). A poem in Lady Margaret Douglas’s hand, followed by one in Mary Shelton’s hand.

42 Illustrations

Plate 5. Leaf 68r. Names and phrases copied by hand 7, followed by the first two stanzas of poem 106, copied by Mary Shelton.

Illustrations 43

Plate 6. Leaf 55v (poem 81). Mary Fitzroy, Duchess of Richmond’s copy of “O happy dames.”

44 Illustrations

Plate 7. Leaf 91r (poems 176f-h). Stanzas copied by hand TH2.

Table of Hands in the Devonshire Manuscript The following table closely follows and is indebted to Table 1 in Baron (see Abbreviations, page 49), 329–33. In one or two minor cases, I disagree with Baron’s differentiation of hands and have signaled my disagreement in my notes to each hand. I also draw on the discussion of hands in Harrier (see Abbreviations), 23–54. In the following table, the numbers listed after the copyists’ names refer to poem numbers in my edition.

Identifiable Women’s Hands Lady Margaret Douglas (MD)

corrections to 2–3, 59–66, 83, 86, 88, 95, 99, 101, 105, 175

Mary Shelton (MSh)

37, 87, 92, 100, 102, 106, doggerel on page 163

Mary Fitzroy, Duchess of Rich- 81 mond Written marginal annotations (for example, the frequently used “and this”) are mainly in the hand of MD. There are occasional annotations in MSh’s hand. A footnote indicates the writer of each annotation where the hand can be identified.

Hands Associated with the Poems of Lord Thomas Howard Baron used the symbols TH1 and TH2 to designate the handwriting of two groups of poems associated with Lord Thomas Howard. The two handwritings are strikingly similar, and TH1 may be, as Baron, 331, suggests, a “cursive” (i.e., a rapidly written and joined up) version of TH2. Because no surviving, independent example of Thomas Howard’s handwriting has been found, attempts to identify these hands as Thomas Howard’s rest on internal evidence (see my discussion, pages 13–14 above). 45

46 Table of Hands in the Devonshire Manuscript

TH1

67–70

Baron, 326–27, 331, suggests that this may be Lord Thomas Howard’s “cursive” hand.

TH2

41–48, 91, 176a–j, scribbled phrases on page 162

Baron, 326–27, 332, tentatively ascribes this hand to Howard because most of the poems (41–48) are evidently by him.

Other Hands Henry Stewart, Lord Darnley

82

Hand 1

1–3, 5–7, 85, 98 (2 and 3 have corrections by MD)

“By no means a professional hand and makes frequent errors” (Harrier, 26). An “immature hand” (Baron, 329).

Hand 2

4, 8–34

“A legible and consistent secretary hand but not of professional refinement” (Harrier, 38). Hand 2 interrupts a sequence in hand 1 (poem 4), and hand 1 corrects hand 2 (poem 20).

Hand 3

35, 38–40

An “ornate hand” (Harrier, 45). Baron, 330, points out that the poems copied by this hand are carefully written on ruled pages. The copyist makes a false start in poem 35 before writing the poem out more fully as poem 38.

Table of Hands in the Devonshire Manuscript 47

Hand 4

49–58

Harrier, 48, notes a close relationship between this copyist and the work of hand 3, “picking up where hand [3] had left off and adding additional poems.” He also suggests that poems 38 (in hand 3) and 52 (in hand 4) came from a common source. “A mature cursive” (Baron, 330).

Hand 5

72

“A mature cursive” (Baron, 330). See note to hand 10 below.

Hand 6

73–80

“A mature cursive” (Baron, 330).

Hand 7

84, 89, 90, 93, This copyist has entered poems 94, 96, 97 on every second page (i.e., on the “verso” of each leaf from 58v–63v, see pages 148–57). Other copyists (hand 1, MD, MSh, TH2) have added poems in the spaces left by this hand. 103, scribbled phrases on pages 163–64

Hand 8

Baron, 330, thinks these verses and phrases might be in “a hasty version” of hand 7. This seems to me plausible.

107–166, 168– “A rapid professional cursive” 172 (Baron, 331). This copyist enters the longest series of poems, including a large group of poems by Sir Thomas Wyatt. 167

This appears to be an italic version of hand 8 (compare Harrier, 52). Baron, 331, considers 167 to be in a new hand, which she names “Hand 9.” (see below).

48 Table of Hands in the Devonshire Manuscript

Hand 9

173, 174

Baron, 331, considers these poems to be in hand 8, but I, following Harrier, 54, consider them to be in a new hand. Note that Baron used the designation “Hand 9” to describe poem 167, which, following Harrier, I consider to be written in hand 8.

Hand 10

35 (ascription), Baron, 332, very plausibly suggests 36 that this may be a “playful” version of hand 5.

Hand 11

71

Only one poem is copied in this hand. Baron describes it as “very untidy” (Baron, 332).

Hand 12

95a

Breaks off mid-line after writing out the beginning of poem 95. “An ill-formed hand” (Baron, 332).

Hand 13

104

Copies only this poem and its associated mottos. “An uneven hand with excessive flourishes” (Baron, 333).

Abbreviations Used in Footnotes to the Text Modern editions of the Tudor manuscripts listed below are cited in my bibliography. AH

Arundel Castle, West Sussex, The Duke of Norfolk’s Manuscripts, “The Arundel Harington Manuscript.” Compiled by members of the Harington family ca.1550–1592. B Trinity College, Dublin, MS 160 (D.2.7), fols. 57–186. Compiled by John Mantell, ca.1534 through 1541, and George Blage, ca.1545 through 1548. Baron Helen Baron, “Mary (Howard) Fitzroy’s Hand in the Devonshire Manuscript,” Review of English Studies 45 (1994): 318–35. BL British Library. Court of The title of a verse miscellany that survives in fragments from Venus three editions printed between 1535 and 1565 (only one has an STC no: 24650.5). All three are reprinted in Russell A. Fraser, ed., The Court of Venus (Durham, N.C.: Duke University Press, 1955). D British Library, MS Additional 17492, “The Devonshire Manuscript.” E British Library, MS Egerton 2711. Harrier Richard Harrier, The Canon of Sir Thomas Wyatt’s Poetry (Cambridge, MA.: Harvard University Press, 1975). MD Lady Margaret Douglas. MS Manuscript. MSh Mary Shelton. M&T Kenneth Muir and Patricia Thomson, eds., Collected Poems of Sir Thomas Wyatt (Liverpool: Liverpool University Press, 1969). As well as containing many of the texts in D and useful notes, this edition contains texts, in the original language, of Wyatt’s Italian sources. Muir Kenneth Muir, ed., “Unpublished Poems in the Devonshire MS,” Proceedings of the Leeds Philosophical Society, Literature and History Section 6 (1947): 253–82. 49

50 Abbreviations Nugae

John Harington, Nugae Antiquae: Being a Miscellaneous Collection of Original Papers in Prose and Verse, Written in the Reigns of Henry VIII, Edward VI, Mary, Elizabeth, James I., &c., by Sir John Harington (London: W. Frederick, 1769). Tudor poems in this volume were once contained in AH. Pages now missing from AH were torn out in the eighteenth century to serve as copy text for Nugae. ODEP William George Smith, The Oxford Dictionary of English Proverbs, 3rd ed., ed. F. P. Wilson (Oxford: Clarendon Press, 1970). References are to page numbers in the third edition. ODNB Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004): http://www.oxforddnb.com. OED Oxford English Dictionary (Oxford: Oxford University Press, 1989): http://www.oed.com. Rebholz R. A. Rebholz, ed., Sir Thomas Wyatt. The Complete Poems (London: Penguin, 1978). Tilley M. P. Tilley, A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries (Ann Arbor: University of Michigan Press, 1950). Tottel Songes and Sonettes, Written by the Ryght Honorable Lorde Henry Haward, late Earle of Surrey, and Other. Printed by Richard Tottel, 1557 (with subsequent editions throughout the sixteenth century).

THE DEVONSHIRE MANUSCRIPT: BRITISH LIBRARY, ADDITIONAL MS 17492

52 The Devonshire Manuscript 1.1

Take heed betime least ye be spied, your loving eye ye cannot hide; at last the truth will sure be tried. Therefore take heed. For some there be of crafty kind, though you show no part of your mind; surely their eyes ye cannot blind. Therefore take heed. For in like case their selves have been, and thought right sure none had them seen, but it was not as they did ween.2 Therefore take heed. Although they be of divers schools3 and well can use all crafty tools, at length they prove themselves but fools. Therefore take heed. If they might take you in that trap, they would soon leave it in your lap. To love unspied is but a hap.4 Therefore take heed.

[2r]

5

10

15

20

Th W

1. Poem 1: hand 1. The initials at the end of this poem are unclear. Most editors of Wyatt’s verse think they resemble Th W (Sir Thomas Wyatt), but Harrier, 36, thinks they are more likely to be T H (Lord Thomas Howard). For compositions certainly by Lord Thomas Howard, see poems 41–48 and 67–70. 2. suppose, believe. 3. Although they adopt various methods 4. chance or good luck.

The Devonshire Manuscript 53 2.5

O cruel causer of undeserved change, by great desire unconstantly to range,6 is this your way for proof of steadfastness? Perdie, I know, the thing was not so strange, by former proof, too much my faithfulness.7 5 What needeth then such colored doubleness? I have wailed thus, weeping in nightly pain, in sobs and sighs, alas, and all in vain, in inward plaint and heart’s woeful torment; and yet, alas, lo, cruelty and disdain have set at naught a faithful true intent, and price hath privilege truth to present.8

[2v]

10

But though I starve9 and to my death still mourn, and piecemeal in pieces though I be torn, and though I die, yielding my wearied ghost, 15 shall never thing again make me return. I quit th’enterprise of that that I have lost to whomsoever list for to proffer most.

5. Poem 2: hand 1. The last four words of line 17 have been corrected by MD. These are the last three stanzas of “Alas the grief ” by Wyatt, also found in E and B. 6. Lines 1–2: O cruel mistress, the causer of a change undeserved by me and which is caused by your lust and inconstancy, 7. Lines 4–5: By heaven, I know already—it was easy enough to see from your previous behavior—that I was over-faithful. 8. money dictates what is taken as the truth. E has “prevent.” 9. waste away

54 The Devonshire Manuscript 3.10

4.15

My heart I gave thee not to do it pain, but to preserve, it was to thee taken. I served thee not to be forsaken but that I should be rewarded again. I was content thy slave to remain but not to be paid under such fashion. Now, since in thee is no manner of reason, displease thee not though I do refrain; insatiate of my woe and my11 desire, [ … ]12 Farewell, I say, parting from the fire. For he that believes bearing in hand,13 ploughs in the water and sows in the sand.14

My pen take pain a little space to follow that which doth me chase and hath in hold my heart so sore, but when thou hast this brought to pass, my pen, I prithee, write no more.

[3r]

5

9

[3v]

5

Remember oft thou hast me eased and all my pains full well appeased, but now I know, unknown before,

10. Poem 3: hand 1. Hand 1 begins the sonnet, and MD takes over in the middle of line 8. Another version, also incomplete, is poem 141 in D. By Wyatt. Also in E, AH, and Tottel. For sources in two poems, “El cor ti diedi” and “La donna di natura,” by Serafino Aquilano, a late-fifteenth-century Italian poet, see M&T, 279–80. 11. Other versions have “thy.” 12. Other versions of this sonnet include two lines (10 and 11) at this point: “assured by craft to excuse thy fault. / But since it please thee to feign a default.” D leaves no gap for the missing lines. 13. For he that believes the false promises of others, 14. Proverbial: Tilley, S184 and S87; ODEP, 757. 15. Poem 4: hand 2. Also in Court of Venus.

The Devonshire Manuscript 55 for where I trust I am deceived. And yet, my pen, thou canst no more. A time thou haddest, as other have, to write which way my hope to crave; that time is past. Withdraw, therefore, since we do lose that other save. As good leave off and write no more. In worth16 to use another way, not as we would but as we may. For once,17 my loss is past restore and my desire is my decay. My pen yet write a little more.

10

15

20

To love in vain, whoever shall, of worldly pain it passeth all, as in like case I find. Wherefore to hold so fast and yet to fall? Alas, my pen, now write no more.

25

Since thou hast taken pain this space to follow that which doth me chase and hath in hold my heart so sore, now hast thou brought my mind to pass,18 my pen, I prithee, write no more.

30

finis19

16. “[Take] in worth,” i.e., Be content or reconciled to 17. For once and all, 18. to move onward, 19. Throughout the manuscript, this Latin word (meaning “end”) is conventionally used to indicate that a poem is complete.

56 The Devonshire Manuscript 5.20

At last withdraw your cruelty and this21 or let me die at once. It is too much extremity, devised for the nonce22 to hold me thus alive 5 in pain still for to drive.23 What may I more sustain, alas, that die would fain24 and cannot die for pain? For to the flame wherewith ye burn my thought and my desire, when into ashes it should turn my heart by fervent fire, ye send a stormy rain that doth it quench again, and makes mine eyes express the tears that do redress25 my life in wretchedness. Then when these should have drowned and overwhelmed my heart, the heat doth them confound, renewing all my smart. Then doth [the] flame increase, my torment cannot cease, my woe doth then revive, and I remain alive with death still for to strive.

[4r]

10

15

20

[4v]

25

20. Poem 5: hand 1. Also in B. For a source in the poetry of Pietro Bembo, a sixteenthcentury Italian poet and humanist, see M&T, 391–92. 21. Annotation by MD. 22. expressly 23. to rush or be impelled onward. B has “strive.” 24. desire to die. In D “sustain” (line 7) is misplaced to the beginning of line 8. 25. restore

The Devonshire Manuscript 57 But if that ye26 would have my death and that ye would none other, shortly then for to spend my breath27 withdraw the one or t’other. For this your cruelness doth let it self, doubtless, and it is reason why:28 no man alive, nor I, of double death can die.

6.29

To wet your eye withouten tear, and in good health to feign disease that you thereby mine eye might blear30 therewith your other friends to please; and though ye think ye need not fear, yet so ye cannot me appease, but, as ye list, feign, flatter, or gloze,31 ye shall not win if I do lose.

30

35

[5r]

5

Prate and paint and spare not, ye know I can me wreak,32 10 and if so be ye care not, be sure I do not reck,33 and though ye swear it were not, I can both swear and speak:

26. D has “he.” 27. consume my breath, i.e., kill me. D has “spein.” 28. Lines 32–34: your cruelty undoubtedly hinders its own ends, and for this reason: 29. Poem 6: hand 1. Also in B. 30. blind or deceive 31. deceive, 32. avenge myself. D has “work,” clearly an error. 33. care,

58 The Devonshire Manuscript By God and by this cross, if I have the mock, ye shall have the loss.

15

[5v is blank.]

7.34

I love loved and so doth she, and yet in love we suffer still; the cause is strange, as seemeth me, to love so well35 and want our will. O deadly yea! O grievous smart! Worse than refuse, unhappy gain! I love! Whoever played this part to love so well and live in pain?

[6r]

5

Was ever heart so well agreed, since love was love, as I do trow,36 10 that in their love so evil did speed: to love so well and live in woe? This mourn we both and hath done long with woeful plaint and careful voice. Alas, alas, it is a grievous wrong to love so well and not rejoice. And here an end of all our moan. With sighing oft37 my breath is scant since, of mishap, ours is alone:38 to love so well and it to want. 34. Poem 7: hand 1. 35. Here and in the refrain throughout, D has “will.” 36. as I suppose, 37. D has “of.” 38. ours is a unique misfortune:

15

20

The Devonshire Manuscript 59

But they that causer is of this, of all our cares God send them part that they may know what grief it is to love so well and live in smart.

8.40 forget this it is worthy41

amen39

Suffering in sorrow in hope to attain, desiring in fear and dare not complain, true of belief in whom is all my trust, do thou apply to ease me of my pain, else thus to serve and suffer still I must.

[6v]

5

Hope is my hold, yet in despair to speak I drive from time to time, and doth not reck42 how long to live thus after love’s lust, in study still of that I dare not break;43 wherefore to serve and suffer still I must.

10

Encrease44 of care I find both day and night. I hate that was sometime all my delight. The cause thereof ye know I have discussed, and yet to refrain it passeth my might; wherefore to serve and suffer still I must.

15

Love who so list, at length he shall well say to love and live in fear it is no play. 39. Written by MD, who uses a form of lead marker or pencil, as she does for poem 86. 40. Poem 8: hand 2. Also in B. The poem is an acrostic, with the first letter of each stanza together spelling SHELTUN. 41. The annotation “forget this” is written by MD; “it is worthy” is a response written by MSh. 42. I put off speaking, and do not take care 43. ever thinking of that about which I dare not speak openly; 44. Increase. I retain the original spelling to preserve the acrostic.

60 The Devonshire Manuscript Record that knoweth and if this be not just:45 that where as love doth lead there is no way but serve and suffer ever still he must.

20

Then for to live with loss of liberty at last perchance shall be his remedy, and for his truth, requit46 with false mistrust. Who would not rue to see how wrongfully thus for to serve and suffer still he must?

[7r]

25

Untrue by trust oftimes hath me betrayed, misusing my hope, still to be delayed. Fortune, always I have thee found unjust, and so with like reward now am I paid: that is, to serve and suffer still I must.

30

Never to cease nor yet like to attain as long as I in fear dare not complain. True of belief hath always been my trust and, till she knoweth the cause of all my pain, content to serve and suffer still I must. 35 Finis undesired service require[s] no hire Mary Mary Shelton47

45. Let whoever has experience put on record that the following is just: 46. rewarded 47. Annotation by MSh. The original gives a flavor of MSh’s spelling: “ondesyrid sarwes reqwer no hyar” (your service was undesired by me and deserves no reward). “Sarwes” may possibly be a spelling of “sorrows,” agreeing with the plural form of the verb “require.” However, MSh habitually uses a “w” for a “v,” and MD uses the spelling “sarwes” for “service” in poem 64, line 17. Harrier, 23, suggests that the repetition of the first name “indicates that the writer later realized another Mary (Mary Howard [Fitzroy], Duchess of Richmond) was also identified with the book.”

The Devonshire Manuscript 61

primus

9.48

My fearful hope from me is fled which of long time hath been my guide, now faithful trust is in his stead and bids me set all fear aside. O truth it is, I not deny, all lovers may not live in ease, yet some by hap49 doth hit truly, so like may I if that she please. Why, so! It is a gift, ye wot,50 by nature one to love another, and since that love doth fall by lot, then why not I as well as other?

[7v]

5

10

It may so be the cause is why she knoweth no part to my poor mind,51 but yet as one assuredly52 15 I speak nothing but as I find. If nature will, it shall so be, no reason ruleth fantasy,53 yet in this case, as seemeth me, I take all thing indifferently.54 20 Yet uncertain, I will rejoice and think to have, though yet thou hast. I put my chance unto her choice with patience, for power is past. 48. Poem 9: hand 2. This and poem 10 appear to be a pair, the first (“primus”) in the voice of a man, the second (“secundus”) in the voice of a woman. 49. chance 50. Yes, indeed! It is a gift, you know, 51. she does not know what is in my mind, 52. who speaks truly 53. fancy (in love) is not subject to reason, 54. (1) equally (2) impartially.

62 The Devonshire Manuscript No, no, I know the like is fair,55 25 without disdain or cruelty, and so to end from all despair until I find the contrary.

secundus

1058

finis quod56 no[body]57

Your fearful hope cannot prevail nor yet faithful trust also. Some think to hit oftimes do fail, whereby they change their wealth to woe. What though? In that yet put no trust but always after as ye see,59 for say your will and do your lust, there is no place60 for you to be.

[8r]

5

No, sure, therein ye are far out, your labor lost ye hope to save,61 10 but once, I put ye out of doubt, the thing62 is had that ye would have. Though to remain without remorse, and pitiless to be oppressed, 55. her choice (“the like”) will be fair, 56. This Latin word (meaning “said,” i.e., “by”) is used mainly by hand 2 to introduce the name or initials of the supposed author. 57. The names at the ends of poems 9 and 10 have been rubbed or scratched out. Bond, “Wyatt’s Poems,” 654–55, first conjectured, on the basis of the few traces left, that they may have been “nobody” for poem 9 and “somebody” for poem 10. See also Harrier, 38, 40. 58. Poem 10: hand 2. An answer to poem 9. 59. always hope only as you see reason for it, 60. position, place of privilege in the lady’s favor 61. Lines 9–10: you are mistaken, (and) the effort that you hoped would be fruitful wasted, 62. Often used as slang for the genitals (OED, s.v. “thing,” II.c).

The Devonshire Manuscript 63 yet is the course of love, by force,63 15 to take all things unto the best. Well yet, beware if thou be wise and leave thy hope thy heat to cool for fear lest she thy love despise, reputing thee but as a fool.

20

Since this to follow of force thou must and by no reason can refrain, thy chance shall change thy least mistrust,64 as thou shall prove unto thy pain. When with such pain thou shall be paid, the which shall pass all remedy, then think on this that I have said and blame thy foolish fantasy.

11.66

25

finis quod so[mebody]65

Bound am I now and shall be still, ever my life continually, she shall be sure of my good will, so shall none else but she only, enduring pain in hope of pity. Trusty and true she shall me find, in word and deed never to offend. Alas, accept mine inward mind67

63. of necessity, 64. Perhaps: your too small mistrust, i.e., your excessive confidence, 65. The name, perhaps “somebody,” has been scratched out; see note 57 above. 66. Poem 11: hand 2. 67. my heartfelt intentions

[8v]

5

64 The Devonshire Manuscript although my power do not extend. I will be true to my life’s end.

10

Oh what pain it is to me if chance I come in her presence: when I would speak it will not be, my heart is there, my wits be thence, I am in fear without offence.

15

Marvell it is to see the life which I do lead from day to day, my wits and will always in strife, I know not what to do nor say, but yield me to her grace always.

20

A thousand hearts if that I had, she should be sure of them all. There were nothing could make me sad if in her favor I might fall, who hath my heart and ever shall.

[9r]

25

So fervently I do her love as heart can think or tongue express; my pains they are all other above. Thus love puts me to great distress, and no ways can I find release.

30

How should I do my pains to cease, alas, which dare not me complain?68 Right sore my sorrows shall increase; unless I may her love obtain I must endure always in pain

35

finis

68. Lines 31–32: How shall I put a stop to my pain, alas, about which I dare not complain?

The Devonshire Manuscript 65 12.69 and this71

Farewell all my welfare, my shoe is trod awry,70 now may I cark72 and care to sing lullay by by. Alas what shall I do thereto? There is no shift to help me now. Who made it such offence to love for love again? God wot that my pretence73 was but to ease his pain for I had ruth74 to see his woe. Alas more fool, why did I so? For he from me is gone and makes thereat a game, and hath left me alone to suffer sorrow and shame. Alas, he is unkind, doubtless, to leave me thus all comfortless. It is a grievous smart to suffer pains and sorrow, but most grievèd my heart he laid his faith to borrow;75 and falsehood hath his faith and truth, and he forsworn by many an oath.

69. Poem 12: hand 2. 70. Proverbial: Tilley, S373 (“to fall from virtue”); ODEP, 837. 71. Annotation by MD. 72. fret or worry 73. God knows that my purpose 74. compassion 75. he gave his faith as a pledge; (OED, n.1a. “to lay to borrow”).

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66 The Devonshire Manuscript All ye lovers, perdie,76 25 hath cause to blame his deed which shall example be to let you of your speed.77 Let never woman again trust to such words as men can feign. 30 For I, unto my cost, am warning to you all that they whom you trust most soonest deceive you shall. But complaint cannot redress of my great grief the great excess.

13.78

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May not this hate from thee astart79 but firmly for to sit? That undeservèd cruel heart when shall it change? Not yet, not yet. Your changing mind and feignèd cheer, with your love which was so knit, how it hath turnèd it doth appear. When shall it change? Not yet, not yet Hath changing such power for to remove and clean out for to shut

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76. assuredly, 77. to make you go more cautiously. 78. Poem 13: hand 2. The poem is ascribed at the end to Sir Anthony Lee, brother-in-law to Sir Thomas Wyatt, and father of Sir Henry Lee, a courtier of Elizabeth I; see ODNB, s.v. “Lee, Sir Henry.” For another poem possibly by Lee, see poem 34. 79. leave you

The Devonshire Manuscript 67 so fervent heat and hasty love? When shall it change? Not yet, not yet Since I am left, what remedy? I marvel never a whit.80 I am not the first, perdie,81 15 nor shall not be the last, not yet. Now since your will so wavering to hate hath turnèd your wit, example as good as writing, it will not be, not yet.82

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finis quod Anthony Lee

[A leaf is missing, leaving a stub.]

14.83

If I had suffered this to you unware,84 mine were the fault and you nothing to blame, but since you know my woe and all my care, why do I die, alas? For shame, for shame. I know right well my face, my look, my tears, mine eyes, my words, and eke my dear cheer85

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80. not at all. 81. assuredly, 82. Lines 17–21. Perhaps: Since your unstable desire has turned to hate, it acts as a warning, as good as if it were written, that it (i.e., the lady’s feelings) will not change, not yet. 83. Poem 14: hand 2. By Wyatt. These are the last three stanzas (lines 25–36) of a poem beginning “Heaven and earth and all that hear me plain” copied into E. BL, MS Royal Appendix 58 (ca.1507–ca.1547) has the first line only with a lute tablature. 84. unknown, 85. loving countenance, but perhaps an error, as E has “dreary cheer.”

68 The Devonshire Manuscript hath crièd my death full oft unto your ears; hard of belief, it doth appear, appear. A better proof I see that ye would have: how I am dead, therefore, when ye hear tell, believe it not although ye see my grave. Cruel unkind, I say, farewell, farewell.

15.86

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Finis quod Wyatt

The heart and service to you proffered with right good will, full honestly, refuse it not since it is offered, but take it to you gentlely.87 And though it be a small present yet, good,88 consider graciously the thought, the mind, and the intent of him that loves you faithfully. It were a thing of small effect to work my woe thus cruelly, for my good will to be abject;89 therefore accept it lovingly.



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Pain or travail,90 to run or ride, I undertake it pleasantly; bid ye me go and straight I glide91 15 at your commandment humbly. 86. Poem 15: hand 2. 87. courteously, in a gentlemanly manner. 88. good lady, 89. rejected; 90. labor, trouble, 91. pass smoothly and swiftly away

The Devonshire Manuscript 69 Pain or pleasure now may you plant,92 even which it please you, steadfastly. Do which you list, I shall not want to be your servant secretly.

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And since so much I do desire to be your own assuredly, for all my service and my hire, reward your servant liberally.

and this9316.94

finis

At most mischief I suffer grief, for of relief since I have none my lute and I continually shall us apply to sigh and moan. Naught may prevail to weep or wail; pity doth fail in you, alas. Mourning or moan, complaint or none, it is all one as in this case. For cruelty most that can be

92. establish (in me), 93. Annotation by MD. 94. Poem 16: hand 2. By Wyatt. Also in E and B.

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70 The Devonshire Manuscript hath sovereignty within your heart, 20 which maketh bare all my welfare. Naught do you care how sore I smart. No tiger’s heart 25 is so pervert95 without desert to wreak his ire, and you me kill for my good will. 30 Lo how I spill for my desire. There is no love that can you move and I can prove 35 none other way, wherefore I must refrain my lust, banish my trust and wealth away. 40 Thus in mischief96 I suffer grief, for of relief since I have none my lute and I 45 continually shall us apply to sigh and moan. 95. wicked 96. misfortune

finis quod Wyatt

The Devonshire Manuscript 71 17.97

What meaneth this when I lie alone? I toss, I turn, I sigh, I groan. My bed me seems as hard as stone. What meaneth98 this? I sigh, I plain continually. The clothes that on my bed do lie always, methink, they lie awry. What meaneth this? In slumbers oft for fear I quake. For heat and cold I burn and shake. For lack of sleep my head doth ache. What meaneth this? Amornings99 then when I do rise I turn unto my wonted100 guise, all day after muse and devise. What meaneth this? And if, perchance, by me there pass she unto whom I sue for grace, the cold blood forsaketh my face. What meaneth this?

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But if I sit near her by, with loud voice my heart doth cry, and yet my mouth is dumb and dry. What meaneth this? To ask for help no heart I have, my tongue doth fail what I should crave,

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97. Poem 17: hand 2. Ascribed to Wyatt at end of poem. 98. D has “menys” (means) in all refrains except for the fifth stanza, where the word is “meaneth.” I have modernized “menys” as “meaneth” to retain the two-syllable rhythm. 99. In the morning 100. accustomed

72 The Devonshire Manuscript yet inwardly I rage and rave. What meaneth this? Thus have I passèd many a year and many a day, though naught appear but most of that that most I fear.101 What meaneth this?

18.102

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finis quod Wyatt

Patience though I have not and [13v] the thing103 that I desirèd, and this104 I must of force, God wot,105 forebear that I requirèd, for no ways can I find 5 to sail against the wind. Patience do what she will to work me woe or spite, I shall content me still to think that once I might; to think and hold my peace since there is no redress.

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101. Lines 30–31: though its only ever my worst fears that come about. 102. Poem 18: hand 2. By Wyatt. In E, B, and AH. This is one of several poems on the theme of patience in D using the same rhythm and verse form; see poems 31, 115, and 167. Poem 115 is described in a headnote in D as a response to a reply to poem 18. A poem, “Canzona de la Patientia,” by Serafino Aquilano, a late-fifteenth-century Italian poet, may be the inspiration for these poems; see M&T, 300–301. 103. “Thing” is slang for the genitals. 104. Annotation by MD. 105. God knows,

The Devonshire Manuscript 73 Patience withouten blame for I offended naught, I know she knows the same though she have changèd her thought. Was ever thought so movèd to hate where it hath lovèd? Patience of all my harm106 for fortune is my foe, patience must be the charm to ease me of my woe, patience without offence is a painful patience.

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finis quod Wyatt

Is it possible [14r] that so high debate so sharp, so sore, and of such rate,108 should end so soon and was begun so late? Is it possible? 5 Is it possible so cruel intent, so hasty heat and so soon spent, from love to hate and thence for to relent? Is it possible? 10 Is it possible that any may find within one heart so diverse109 mind

106. I must have patience in spite of the harm I suffer 107. Poem 19: hand 2. Ascribed to Wyatt at end of poem. 108. intensity, 109. perverse, varying

74 The Devonshire Manuscript to change or turn as weather and wind? Is it possible?

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Is it possible to spy it in an eye that turns as oft as chance on die,110 the truth whereof can any try? Is it possible?

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It is possible for to turn so oft, to bring that lowest that was most aloft and to fall highest yet to light soft. It is possible.

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All is possible, who so list believe; trust therefore first and after prove,111 as men wed ladies by license and leave.112 All is possible

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20.113 114 and this





finis quod Wyatt

My lute awake, perform the last labor that thou and I shall waste and end that I have now begun,

[14v]

110. Die is the singular of dice. 111. Proverbial: Tilley, T595; ODEP, 263. D has “preve,” rhyming with “leve” (leave) in the next line. 112. Lines 28–29: Trust first and afterwards find out the truth, as men rely on the permission of others to marry and only later prove the worth of their wife. Or, perhaps, even more cynically: Trust and then prove the truth, as men marry legitimately, but then leave. 113. Poem 20: hand 2. By Wyatt. Also In E, B, Tottel, Court of Venus, and Nugae. 114. Annotation by MD.

The Devonshire Manuscript 75 for when this song is sung and past, my lute be still for I have done.

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As to be heard where ear is none, as lead to grave in marble stone, my song may pierce her heart as soon. Should we then sing or sigh or moan? No, no, my lute for I have done.

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The rock doth not so cruelly repulse the waves continually as she my suit and affection, so that I am past remedy, whereby my lute and I have done.

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Proud of the spoil that thou hast got of simple hearts through115 love’s shot, by whom, unkind, thou hast them won, think not he hath his bow forgot although my lute and I have done.

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Vengeance may fall on thy disdain that makes but game of earnest pain. Trow not alone under the sun unquit to cause thy lovers plain,116 although my lute and I have done.

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May chance thee lie withered and old, the winter nights that are so cold, plaining in vain unto the moon. Thy wishes then dare not be told; care then who list for I have done.

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115. D has “thorow,” which has two syllables. 116. Lines 23–24: Do not believe that you alone under the sun may cause your lovers to complain without suffering yourself,

76 The Devonshire Manuscript And then may chance thee to repent the time that thou hast lost and spent to cause thy lovers sigh and swoon, then shalt thou know beauty is but lent, and wish and want as I have done.

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Now cease my lute, this is the last labor that thou and I shall waste and ended is that I have now117 begun. Now is this song both sung and past. My lute be still for I have done.

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finis quod Wyatt

Alas poor man, what hap have I that must forbear that I love best? I trow119 it be my destiny never to live in quiet rest. No wonder is though I complain, not without cause ye may be sure. I seek for that I cannot attain which is my mortal displeasure. Alas, poor heart, as in this case with pensive plaints thou art oppressed. Unwise thou were to desire place whereas120 another is possessed.

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117. The words “is” in line 34 and “have now” in line 38 are added by another hand, probably hand 1. 118. Poem 21: hand 2. 119. believe 120. where

The Devonshire Manuscript 77 Do what I can to ease thy smart thou wilt not let121 to love her still. Hers and not mine I see thou art; let her do by thee as she will. A careful carcass full of pain now hast thou left to mourn for thee; the heart once gone, the body is slain. That ever I saw her, woe is me.

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Mine eye, alas, was cause of this, which her to see had never his fill; to me that sight full bitter is in recompense of my good will. She that I serve all other above hath paid my hire as ye may see. I was unhappy and that I prove to love above my poor degree.122

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finis John crow to serve / xvx hundred /123



22.124

Marvel no more although the songs I sing do moan, for other life than woe I never provèd none,

[16v]

121. forbear, desist 122. Perhaps: I was unlucky as I found out by loving above my station, or, my loving above my station demonstrates that I was unlucky. 123. This annotation, added below the poem by another hand, may refer to a popular song or dance tune to which this poem could be sung. On the practice of singing poems to popular tunes, see my Introduction, 24–25. 124. Poem 22: hand 2. By Wyatt. Versions in E, Tottel, Court of Venus, and Nugae.

78 The Devonshire Manuscript and in my heart also is graven with letters deep a thousand sighs and more, a flood of tears to weep.

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How may a man in smart find matter to rejoice? 10 How may a mourning heart set forth a pleasant voice? Play who can that part, needs must in me appear how fortune overthwart 125 15 doth cause my mourning cheer. Perdie,126 there is no man, if he never saw sight,127 that perfectly tell can the nature of the light; how should I do then,128 that never taste but sour, but do as I began, continually to lour? But yet perchance some chance may chance to change my tune, and when such129 chance doth chance, then shall I thank fortune, and if such chance do chance, perchance ere it be long,

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125. perverse, contrary 126. Assuredly, 127. if he was blind, 128. D has “than,” rhyming with “began.” 129. It may be that the repetition of “such” puns on the name of Mary Souche, a maid of honor to Jane Seymour. In E, a later hand has inserted “souche” in line 29, and Tottel entitled the poem: “The lover’s sorrowful state maketh him write sorrowful songs, but Souche his love may change the same.”

The Devonshire Manuscript 79 for such a pleasant chance to sing some pleasant song.

23.131

finis quod Tas130 Wyatt

And wilt thou leave me thus— and this chiefly132 [17r] say nay, say nay, for shame— to save thee from the blame of all my grief and grame?133 And wilt thou leave me thus? 5 Say nay, say nay. And wilt thou leave me thus that hath loved thee so long in wealth and woe among? And is thy heart so strong as for to leave me thus? Say nay, say nay. And wilt thou leave me thus that hath given thee my heart never for to depart, neither for pain nor smart? And wilt thou leave me thus? Say nay, say nay. And wilt thou leave me thus and have no more pity of him that loveth thee? Alas thy cruelty!

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130. That is, Thomas. 131. Poem 23: hand 2. The initial W at the end indicates that the poem is ascribed to Wyatt. 132. Annotation by MD. 133. harm.

80 The Devonshire Manuscript And wilt thou leave me thus? Say nay, say nay 25

24.134

finis quod W.

That time that mirth did steer my ship which now is fraught with heaviness, and fortune bit not then the lip135 but was defense of my distress, then in my book136 wrote my mistress, “I am yours, you may well be sure, and shall be while my life doth dure.”137 But she herself which then wrote that is now mine extreme enemy, above all men she doth me hate rejoicing of my misery. But though that for her sake I die I shall be hers, she may be sure, as long as my life doth endure. It is not time that can wear out with me that once is firmly set, while nature keeps her course about my love from her no man can let;138 though never so sore they me threat yet am I hers, she may be sure, and shall be while that life doth dure.

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134. Poem 24: hand 2. In B. 135. showed signs of anger. In D, “bit” is spelled “boate,” an obsolete form of the past tense. 136. Probably an album like D. The lines scribbled in D by hand TH2 (page 162 below) use a phrase like the one in line 6. 137. last.” 138. hinder, prevent;

The Devonshire Manuscript 81 And once I trust to see that day, renewer of my joy and wealth, that she to me these words shall say: “In faith welcome to me myself, welcome my joy, welcome my health, for I am thine, thou mayst be sure, and shall be while that life doth dure.” Ho me, alas, what words were these? In covenant I might find them so.139 I reck140 not what smart or disease, [ … ]141 I suffered so that I might know that she were mine, I might be sure, and should [be] while that life doth dure.

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finis

25.142

The restful place, reviver of my smart, the labor’s salve increasing my sorrow, the body’s ease and troubler of my heart, quieter of mind and my unquiet foe, forgetter of pain remembering my woe, the place of sleep wherein I do but wake; besprent with tears, my bed, I thee forsake.

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The frost, the snow, may not redress my heat, nor yet no heat abate my fervent cold. 139. Perhaps: I wish I might find that the words were a pledge or contract. D has “comenant,” which seems to have been an alternative early form of the word covenant (OED, s.v. “convenant,” form δ). 140. care 141. B supplies the line missing in D: “torment or trouble, pain or woe,” 142. Poem 25: hand 2. By Wyatt. In E (an 8-line version) and Tottel. The poem may owe a debt to Petrarch, Rime 234; see M&T, 417.

82 The Devonshire Manuscript I know nothing to ease my pains meet;143 each care causeth increase by xxtes fold144 reviving cares upon my sorrows old. Such overthwart affects,145 they do me make, besprent with tears, my bed for to forsake.

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Yet helpeth it not, I find no better ease. In bed or out this most causeth my pain: where most I seek how best that I may please, my lost labor, alas, is all in vain. Yet that I gave I cannot call again. No place from me my grief away can take. Wherefore with tears, my bed, I thee forsake.

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finis quod Wyatt

All women have virtues noble and excellent [18v] who can perceive that . they do offend daily . they serve God with good intent seldom . they displease their husbands to their lives’ end always . to please them they do intend 5 never . man may find in them shrewdness commonly . such conditions they have more and less.

143. I know nothing able to ease my pains; 144. twenty times 145. perverse or hostile emotions, 146. Poem 26: hand 2. Also in AH and Magdalene College, Cambridge, MS Pepysian Library, 2553 (“The Maitland Folio,” compiled in Scotland, 1570–1585). (See plate 2.) The (anti-woman) wit of the poem depends on its ambiguous punctuation. Read line by line, with each sentence concluding at the end of each line, the poem praises women. If line endings are ignored and the punctuation within lines is followed, then the poem attacks women. It is difficult to reproduce the ambiguous sixteenth-century punctuation in modern form. I have attempted to do so by avoiding capital letters where sentence endings are ambiguous, omitting punctuation at line endings, and putting spaces around optional punctuation mid-line. Stevens, Music and Poetry, 162, 197 note 24, and 356, quotes another misogynist punctuation poem and cites a third on the law. Both of his examples were set to music.

The Devonshire Manuscript 83 What man can perceive that women be evil? Every man that hath wit . greatly will them praise for vice . they abhor with all their will 10 prudence, mercy, and patience . they use always folly, wrath, and cruelty . they hate as men says meekness and all virtue . they practice147 ever sin . to avoid virtues they do procure. Some men speak much evil by women148 truly . therefore they be to blame nothing . a man may check149 in them abundantly . they have of grace and good fame lacking . few virtues to a good name in them find ye . all constantness they lack perdie150 . all shrewdness as I guess.

27.151

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finis quod Richard Hattfeld

What no perdie,152 ye may be sure! Think not to make me to your lure153 with words and cheer so contraring, sweet and sour counterweighing; too much it were still to endure. Truth is tried154 where craft is in ure.155

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147. (1) habitually use (2) employ trickery 148. of women 149. reprimand 150. assuredly 151. Poem 27: hand 2. By Wyatt. Also in E (with corrections in Wyatt’s own hand). 152. by God, 153. not to train me to do your bidding. (A “lure” is a device used by falconers to train their birds.) 154. D has trayde,” which could be a shortened form of betrayed. E, however, which has corrections in Wyatt’s own hand, has “tryed” (i.e.,“tried”). 155. in use.

84 The Devonshire Manuscript But though ye have had my heart’s cure,156 trow ye157 I dote without ending? What no perdie! Though that with pain I do procure 10 for to forget that once was pure, 158 within my shall still that thing unstable, unsure, and wavering, be in my mind without recure?159 What no perdie! 15

28.160

finis quod Wyatt

To my161

Was never yet file half so well filèd to file a file to any smith’s intent as I was made a filing instrument to frame other while I was beguilèd. But reason at my folly hath smilèd and pardoned me since that I me repent my little perceiving and time mispent, for youth did lead me and falsehood guilèd.162 But this trust I have by great appearance:163 since that deceit is aye returnable, of very force it is agreeable

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156. care or oversight of my heart, 157. do you believe 158. A drawing of a heart that also resembles a face is inserted in place of the word “heart.” 159. remedy? 160. Poem 28: hand 2. By Wyatt. Also in E, B, AH (two copies), and Tottel. In E and B, the first line is “There was never file half so well filed.” 161. Unfinished heading in italic hand, perhaps inserted after poem 28 had been copied. 162. deceived (me). 163. based on my observation, or, based on probability:

The Devonshire Manuscript 85 that therewithall be done the recompense—164 and guile’s reward is small trust for ever. Guile beguilèd should be blamèd never.165

29.166

finis

As power and wit will me assist my will shall will even as ye list.167

[20r]

For as ye list my will is bent in everything to be content, to serve in love till life be spent, and to reward my love thus meant, even as ye list.

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To feign or fable is not my mind nor to refuse such as I find, but as a lamb of humble kind or bird in cage, to be assigned even as ye list.

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When all the flock is come and gone, mine eye and heart, agreed168 in one, hath chosen you only alone

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164. Lines 10–12: since deceit can always be returned, it follows that it is fitting (but also pleasurable) that the deceit should be paid back 165. Proverbial: Tilley, D182; ODEP, 175. 166. Poem 29: hand 2. Also in BL, MS Add. 18752, but without the first two lines. The poem imitates the carol form in which the first two lines serve as the “burden” or refrain to be repeated after each stanza; see M&T, 418, and Harrier, 42. In poem 29, only the final phrase of the “burden” is repeated. 167. please. 168. D has “agreythe,” possibly the active verb “agreeth,” but the adjective “agreed” seems to make better sense.

86 The Devonshire Manuscript to be my joy or else my moan, even as ye list. Joy, if pity appear in place, moan, if disdain do show his face. Yet crave I not as in this case,169 20 but as ye lead to follow the trace even as ye list. Some in words much love can feign, and some for words give words again, thus words for words in words remain and yet at last words do obtain, even as ye list.

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To crave in words I will eschew and love in deed I will ensue,170 it is my mind171 both whole and true, and for my truth I pray you rue,172 even as ye list.

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Dear heart, I bid your heart farewell with better heart than tongue can tell. Yet take this tale as true as gospel,173 ye may my life save or expel, even as ye list.

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finis

169. Perhaps: Yet I do not ask you to show me disdain, 170. strive to obtain, 171. intention 172. have compassion, 173. Proverbial: Tilley, G378; ODEP, 840.

The Devonshire Manuscript 87 30.174

Sometime I sigh, sometime I sing, sometime I laugh, sometime mourning, as one in doubt this is my saying: have I displeasèd you in anything? Alack, what aileth you to be grievèd? Right sorry am I that ye be movèd. I am your own if truth be provèd,175 and by your displeasure as one mischievèd.176 When ye be merry then am I glad, when ye be sorry then am I sad, such grace or fortune I would I had you for to please how ever I were bestad.177 When ye be merry why should I care?178 Ye are my joy and my welfare; I will you love, I will not spare into your presence as far as I dare.179 All my poor heart and my love true while life doth last I give it you, and you to serve with service due and never to change you for no new. finis

174. Poem 30: hand 2. 175. D has “… mevyd… prevyd”; thus all four lines of this stanza rhymed. 176. injured. 177. situated. 178. grieve? 179. Lines 15–16: I will not refrain from approaching you as often as I dare.

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88 The Devonshire Manuscript 31.180

Patience of all my smart for fortune is turnèd awry;181 patience must ease my heart that mourns continually; patience to suffer wrong is a patience too long. Patience to have a nay of that I most desire; patience to have alway and ever burn like fire; patience without desert is grounder182 of my smart. Who can with merry heart set forth some pleasant song that always feels but smart and never hath but wrong? Yet patience evermore must heal the wound and sore. Patience to be content with froward183 fortune’s train; patience to the intent somewhat to slake my pain. I see no remedy but suffer patiently. To plain where is none ear my chance is chancèd so, for it doth well appear my friend is turnèd my foe.

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180. Poem 31: hand 2. Compare poems 18, 115, and 167 on the same theme, and note 102. 181. askew, hostile; 182. the cause 183. adverse

The Devonshire Manuscript 89 But since there is no defense I must take patience.

32.184

Who would have ever thought a heart that was so set, to have such wrong me wrought or to be counterfeit? But who that trusteth most is like to pay the cost.185 I must of force, God wot,186 this painful life sustain, and yet I know not the chief cause of my pain. This is a strange disease: to serve and never please. I must of force endure this draught187 drawn awry, for I am fast and sure to have the mate188 thereby.

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184. Poem 32: hand 2. Poems 31 and 32 are set out in two columns on leaf 21r. Line 30 of poem 31 is followed by a broken line (without a “finis”), and poem 32 follows, completing the second column and with a “finis” at the end. It is therefore possible that poem 32, which has the same meter and rhyme scheme as 31, was thought to be, or was used as, a continuation of 31. The copyist (hand 2) almost always marks finished poems with a “finis” in D (but see poem 33 below). 185. Proverbial: Tilley, T555; ODEP, 842. 186. I must of necessity, God knows, 187. (1) a move in chess (2) load or burden. Rebholz, 531, draws attention to the use of “mate” in line 16 and suggests that (1) is the primary meaning. 188. to be checkmated

90 The Devonshire Manuscript But note I will this text: to draw better the next.189

33.190

finis

In faith, methinks, it is no right to hate me thus for loving thee, so fair a face, so full of spite, who would have thought such cruelty? But since there is no remedy, that by no means ye can me love, I shall you leave and other prove.

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For if I have for my good will no reward else but cruelty, in faith thereof I can no skill191 10 since that I lovèd thee honestly, but take heed I will till I die ere that I love so well again since women use so much to feign. […]

189. Lines 17–18: I will note this maxim: to make a better move (in chess) next time or to bear (my burden) better next time. 190. Poem 33: hand 2. Harrier, 43, suggests that this poem is incomplete. A space, possibly for a third stanza, is left blank at the bottom of leaf 21v, and there is no “finis.” For the relationship of these stanzas to poem 34, see note 192. 191. truly, I cannot understand why it should be so

The Devonshire Manuscript 91 34.192

And sure, I think, it is best way to love for love alike again, and not to make earnest of play, as I to love and she to feign. For since fancy so much doth reign, the surest way needs take I must, as first to prove and after trust.193 By trusting I was deceivèd, for when I thought myself most sure another had me beguilèd and shortly made her to his lure.194 But now that she is past recure195 and thus from me hath ta’en her flight, best let her go and take it light. Should I take thought when she is glad? Or should I wake when she doth sleep? Yet may I say that once I had, and neither sob, nor sigh, nor weep, nor for her love on knee to creep. For surely this right well I wot:196 happiest is he that hath her not.

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finis quod A. I.197

192. Poem 34: hand 2. Harrier, 44–45, and Muir, Life and Letters, 17n, both suggest that this is an answer to poem 33. Whereas poem 33 addresses the lady directly, poem 34 comments on her behavior. Both poems share the same rhyme royal stanza form, point of view, and, in each stanza, a similar structure of argument (a lesson drawn, followed by a misogynist conclusion, with “But” or “For” beginning the fifth line of most of the stanzas). Thus both poems may be by A.I. Harrier, 43, points out that the “And” of the first line “strikes the ear as a continuation,” and it is possible that poem 34 is a development of poem 33 with a shift of addressee from the lady to either the poet himself or a sympathetic listener. 193. Proverbial: Tilley, T595; ODEP, 263. 194. A device used by falconers to train and recall their hawks. 195. any hope of recovering her is past 196. know: 197. The initials may be those of Anthony Lee; see M&T, 418. For Lee, see note 78.

92 The Devonshire Manuscript I hatt198 35.199

The knot which first my heart did strain when that your servant I became doth bind me still for to remain always

36.201

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finis quod John200

Hey Robin, gentle Robin, tell me how thy lady doth and thou shalt know of mine. My lady is unkind, perdie.202 Alas why is she so? She loves another better than I and yet she will say N203

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198. This seems to be an aborted title; in hand 3. 199. Poem 35: hand 3. This is a fragment of a poem that appears in a fuller version on the next leaf (poem 38). There is yet another version in D (poem 52). 200. The “finis” and ascription are in hand 10, which copies the next fragment. 201. Poem 36: hand 10. A fragmentary version of poem 39. 202. by God. 203. The missing word is “no.” In D an elaborate flourish could be a capital “N” or simply a concluding decoration .

The Devonshire Manuscript 93 37.204

Ah well, I have at205 other lost, not as mine own I do protest,206 but when I have got that I have missed, I shall rejoice among the rest.

38.208

Mary Shelton207

The knot which first my heart did strain when that your servant I became doth bind me still for to remain always209 your own as now I am, and if you find that I do feign, with just judgment myself I damn to have disdain. If other thought in me do grow but210 still to love you steadfastly, if that the proof do not well show that I am yours assuredly, let every wealth turn me to woe and you to be continually my chiefest foe. If other love or new request do seize my heart but only this, or if within my wearied breast be hid one thought that means amiss,

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204. Poem 37: MSh’s hand. A fragment or a jingle. 205. Perhaps: at the hands of another (OED, s.v. “at,” prep. 11). 206. Perhaps: I protest the fault is not mine, 207. Written in the same italic hand with which her name is written on the frontispiece of D. 208. Poem 38: hand 3. Another attempt, in the same handwriting, as the unfinished stanza (poem 35). There is another version, copied by hand 4, in D (poem 52). Also in B. 209. D has “all was” (always?) in both this version and poem 52. 210. other than

94 The Devonshire Manuscript I do desire that mine unrest may still increase, and I to miss that I love best. If in my love there be one spot of false deceit or doubleness, or if I mind to slip this knot by want of faith or steadfastness, let all my sorrows be forgot and when I would have chief redress esteem me not. What if that I consume in pain of burning sighs and fervent love, and daily seek none other gain but with my deed these words to prove? Methink of right I should obtain that ye would mind211 for to remove your great disdain. And for the end of this my song, unto your hands I do submit my deadly grief and pains so strong which in my heart be firmly shut;212 and, when ye list, redress my wrong, since well ye know this painful fit213 hath last too long. finis

211. be willing 212. This is written “shytt” in D, thus rhyming with “submit” and “fit.” 213. (1) painful experience (2) song

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The Devonshire Manuscript 95 39.215

and this214

Hey Robin,216 jolly Robin, tell me how thy lady does and thou shalt know of mine.217 “My lady is unkind, perdie.”218 Alas why is she so? “She loves another better than I and yet219 she will say no.” I find no such doubleness, for I find women true, my lady loveth me doubtless and will change for no new. “Thou art happy if it doth last but I say as I find: that women’s love is but a blast and turneth as the wind.”

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If that be true yet as thou say’st, that women turn their heart, 214. Annotation by MD. 215. Poem 39: hand 3. By Wyatt. Hand 10 copied the refrain and part of the first verse into D (poem 36). Also in E. A three-stanza version in BL, MS Add. 31922 (“The King Henry VIII MS”) is set to music by William Cornish (this manuscript is transcribed in Stevens, Music and Poetry, Appendix A). In Shakespeare’s Twelfth Night (4.2.173–80), Feste sings the opening lines. M&T, 309, surmise that Wyatt was adapting an existing popular song. E divides the stanzas between different speakers, either “le plaintif ” or “Responce.” However the copy in E is missing a stanza and modern editors normally agree to label stanzas 3, 4, and 7 “Responce,” while 4 and 6 are given to “le plaintif.” As the D copy does not have such labels, I have added quotation marks to help differentiate between the two speakers. 216. The name Robin, a shortened form of Robert, is not recorded as a bird name till 1549. 217. The refrain-like opening stanza is set out without regard to line endings in D, but it is enclosed in a right-hand bracket perhaps indicating that it is a refrain. 218. by God.” 219. (1) still (2) nevertheless

96 The Devonshire Manuscript then speak better of them thou may’st in hope to have thy part. “Such folk shall take no hurt by love that can abide their turn,220 but I, alas, can no ways prove221 in love, but lack and mourn.” Yet, if thou wilt avoid the harm, learn this lesson of me: at others’ fires thyself to warm and let them warm with thee.

40.223

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finis quod 5813222

It was my choice, it was my224 chance that brought my heart in other’s hold whereby it hath had sufferance225 longer, perdie,226 than reason would. Since I it bound where it was free,

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220. wait their turn. Rebholz, 433, points out that “their” might refer to either the would-be lovers (who are able to wait their turn) or to the ladies (whose wily shifts or changes of mind lovers must be able to endure). 221. thrive or succeed 222. Harrier and Baron both think that these characters are the numbers 5813 (Harrier, 24 and 45; Baron, 330). Harrier suggests they may be a cipher for Wyatt. Southall, Courtly Maker, 4, suggests that they are the letters “saiz,” and Siemens et al, “Drawing Networks in the Devonshire Manuscript,” Appendix 1: D, suggest “sair.” 223. Poem 40: hand 3. This copy breaks off before the end of stanza 2. A fuller version (poem 49) is copied in hand 4. 224. Poem 49 has “no.” 225. endured suffering 226. indeed,

The Devonshire Manuscript 97 methinks, iwis,227 of right it should accepted it be.228 Accepted it be without refuse, unless that fortune hath the power all right of love for to abuse, for, as they say, one happy229 hour may more prevail than right or might. If fortune then list for to lour […]

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41.230

Now may I mourn as one of late driven by force from my delight, and cannot see my lovely mate to whom forever my heart is plight. Alas, that ever prison strong should such two lovers separate.231 Yet though our bodies suffereth wrong, our hearts shall be of one estate.232

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227. assuredly, 228. Both here and in line 8, the copyist has added “it”; compare poem 49. 229. (1) fortunate (2) joyful 230. Poem 41: TH2. This poem begins a section of poems (i.e., poems 41–48) that relate to the betrothal and imprisonment of Lord Thomas Howard and MD; see my Introduction, 11–14. Lord Thomas Howard died in the Tower of London in October 1537. Thus, if the poems were copied by Lord Thomas Howard, as was first suggested by Bond, “Wyatt’s Poems,” 655, they must have been copied into D before that date. 231. Both lovers were imprisoned in the Tower of London in July 1536. MD was removed to Sion Abbey in November 1536 and was released in October 1537 two days before the death of Lord Thomas Howard. Either of the lovers might have composed this poem. 232. (1) our hearts shall be joined in fortune. (2) our hearts will share the same social status. (Lord Thomas Howard was inferior to MD in birth and rank.)

98 The Devonshire Manuscript I will not swerve, I you assure,233 for gold nor yet for worldly fear, but like as iron I will endure, such faithful love to you I bear. Thus fare ye well, to me most dear, of all the world both most and least, I pray you be of right good cheer and think on me that loves you best. And I will promise you again, to think of you I will not let,234 for nothing could release my pain but to think on you my lover sweet.

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finis

42.235

With sorrowful sighs and wounds’236 smart my heart is pierced suddenly. To mourn of right it is my part, to weep, to wail, full grievously. The bitter tears doth me constrain, although that I would it eschew,237 to wite of238 them that doth disdain faithful lovers that be so true.

233. D has “insure,” a better rhyme with “endure.” 234. stop, 235. Poem 42: TH2. 236. D has “wondes,” probably a two-syllable word. 237. avoid, 238. blame

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The Devonshire Manuscript 99 The one of us from the other they do absent, which unto us is a deadly wound, seeing we love in this intent:239 in God’s laws for to be bound.240 With sighs deep my heart is pressed, enduring of great pains among, to see her daily whom I love best in great and intolerable sorrows strong. There doth not live no loving heart but will lament our grievous woe and pray to God to ease our smart and shortly together that we may go.

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finis Margrt241

43.242

What thing should cause me to be sad? As long [as] ye rejoice with heart243 my part it is for to be glad; since you have taken me to your part ye do release my pain and smart

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239. with this intention: 240. MD and Lord Thomas Howard may have gone through a legally-binding betrothal before witnesses. 241. The name is added in a different hand and presumably refers to MD. It is not, however, in MD’s hand. The speaker of the poem is male, so the poem is not being attributed to MD. For an argument that the letters spell out not “Margrt” (Margaret) but “Mary Sh—lt—,” see Remley, “Mary Shelton,” 54. 242. Poem 43: TH2. 243. sincerely

100 The Devonshire Manuscript which would me very sore ensue but that for you, my trust so true.244 If I should write and make report what faithfulness in you I find, the term of life it were too short with pen in letters it to bind. Wherefore, whereas ye be so kind, as for my part it is but due like case to you to be as true.245 My love truly shall not decay for threatening nor for punishment, for let them think and let them say, toward you alone I am full bent. Therefore I will be diligent our faithful love for to renew and still to keep me trusty and true. Thus fare ye well my worldly treasure, desiring God that of his grace to send in246 time his will and pleasure, and shortly to get us out of this place. Then shall I be in as good case as a hawk that gets out of his mew247 and straight doth seek his trust so true.

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finis

244. Lines 6–7: which would pursue me closely (or distressingly) were it not for you, my true trust. 245. Lines 12–14: For this reason, because you are so kind, I owe it to you to be as true in return. 246. D has “no,” clearly an error. 247. A cage used while the bird moults.

The Devonshire Manuscript 101 44.248

Alas that men be so ungent249 [27v] to order me so cruelly, of right they should themselves repent if they regard their honesty. They know my heart is set so sure that all their words cannot prevail though that they think me to allure250 with double tongue and flattering tale. Alas methinks they do me wrong that they would have me to resign my title,251 which is good and strong, that I am yours and you are mine. I think they would that I should swear your company for to forsake, but once,252 there is no worldly fear shall cause me such an oath to make. For I do trust ere it be long that God of his benignity253 will send us right where we have wrong for serving him thus faithfully. Now fare ye well mine own sweet wife, trusting that shortly I shall hear from you, the stay of all my life, whose health alone is all my cheer. finis

248. Poem 44: TH2. 249. discourteous 250. although they think to tempt me 251. my rights (as lawful betrothed), 252. once for all, 253. graciousness

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102 The Devonshire Manuscript 45.254

Who hath more cause for to complain or to lament his sorrow and pain than I which loves and loved again yet can not obtain? I cannot obtain that is mine own, which causeth me still to make great moan, to see thus right with wrong overthrown is255 not unknown. It is not unknown how wrongfully they will me her for to deny whom I will love most heartily until I die. Until I die I will not let256 to seek her out in cold and heat which hath my heart as firmly set as tongue or pen can it repeat.

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finis

46.257

I may well say with joyful heart, as never woman might say beforn,258 that I have taken to my part the faithfullest lover that ever was born. Great pains he suffereth for my sake continually both night and day.

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254. Poem 45: TH2. 255. D has “as,” but “is” is repeated in the next line and makes better sense. 256. desist 257. Poem 46: TH2. This poem is in a woman’s voice and was probably composed by MD. 258. before,

The Devonshire Manuscript 103 For all the pains that he doth take,259 from me his love will not decay. With threatening great he hath been ’ssayed,260 of pain and eke261 of punishment, yet all fear aside he hath laid; to love me best was his intent. Who shall let262 me then of right unto myself him to retain and love him best both day and night in recompense of his great pain?

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If I had more, more he should have, and that I know he knows full well; to love him best unto my grave, of that he may both buy and sell.263 20 And thus farewell my heart’s desire, the only stay of me and mine, unto God daily I make my prayer to bring us shortly both in one line.264 finis

259. In spite of the pains he suffers, 260. essayed, tried, 261. also 262. prevent 263. The meaning seems to be that he can rely on it. 264. in agreement, or, possibly, side by side.

104 The Devonshire Manuscript 47.265

To your gentle letters an answer to recite [29r] both I and my pen thereto will apply, and though that I cannot your goodness acquite266 in rhyme and meter elegantly, yet do I mean as faithfully 5 as ever did lover for his part. I take God to record which knoweth my heart. And whereas ye will continue mine, to report for me ye may be bold267 that if I had lives as Argus had eyen268 yet sooner all them lose I would than to be tempted for fear or for gold you to refuse or to forsake which is my faithful and loving make.269 Which faithfulness ye did ever pretend,270 and gentleness271 as now I see, of me which was your poor old friend, your loving husband now to be.272 Since ye descend from your degree,273 take ye this unto your part: my faithful, true, and loving heart.

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265. Poem 47: TH2. The diction of this poem seems dated for the 1530s. It is possible that Lord Thomas Howard, whose initials are worked into line 24, appropriated and adapted an existing older poem, as he seems to have done for the next poem; see note 276. 266. acquit, repay 267. you may venture so far as to report 268. In Greek mythology Argus was a giant with one hundred eyes. 269. spouse. 270. profess, 271. (1) courtesy (2) kindliness (3) aristocratic nobility (MD was of a higher social class than Lord Thomas Howard; see line 19.) 272. Lines 15–17. Perhaps: Your faithfulness and gentleness, which you have always professed, are now evident in your transformation of me from your poor old friend to your loving husband. 273. Since you condescend below your high birth,

The Devonshire Manuscript 105 For term of life this gift ye have. Thus now adieu mine own sweet wife from T. H. which naught doth crave but you the stay of all my life. And they that would either bait or strive to be tied within your loving bands,274 I would they were on Goodwin Sands.275

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48.276

And now my pen, alas, with which I write, quaketh for dread of that I must indite:277

[29v]

O very lord , O Love, O god, alas, that knowest best mine heart and all my thought, what shall my sorrowful life do in this case 5 if I forgo that I so dear have bought? Since ye 278 and me have fully brought into your grace and both our hearts sealed, how may ye suffer, alas, it be repealed?

274. Lines 26–27: those who would either dispute or strive to prevent me being bound by your loving promises to me or in union with you. In line 26, D has “stryfe” rhyming with “wife” and “life.” 275. The Goodwin Sands are dangerous sandbanks in the English Channel, famous for causing shipwrecks. 276. Poem 48: TH2. With the exception of the first couplet, these lines are made up of extracts from Chaucer’s Troilus and Criseyde, bk. 4, lines 288–308 and 323–29; see Seaton, “‘The Devonshire Manuscript,’” 55–56. For this copyist’s fondness for extracting passages from medieval poems, see poems 91 and 176a–j and my Introduction, 13 and 26–27. 277. write down: 278. There is a blank space where the name “Criseyde” is omitted. Perhaps Thomas Howard intended to insert the name “Margaret.”

106 The Devonshire Manuscript What I may do I shall while I may dure279 alive, in torment, and in cruel pain. This misfortune or this misadventure alone, as I was born, I will complain. Nor never will I see it shine or rain, but end I will, as Oedipus, in darkness,280 my sorrowful life, and so die in distress. O weary ghost that errest to and fro, why would thou not fly out of the woefullest body that ever might on ground go? O soul, lurking in this woeful nest, fly forth out my heart and it burst and follow always 281 thy lady dear. Thy right place is now no longer here. O ye lovers, that high upon the wheel been set of fortune, in good adventure,282 God grant that ye find aye love of steel,283 and long may your life in joy endure. But when ye come by my sepulcher, remember that your fellow resteth there; for I lovèd eke,284 though I unworthy were.

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279. endure 280. Oedipus blinded himself in anguish when he discovered that he had killed his father and committed incest with his mother. 281. Another space where “Criseyde” is omitted. 282. Lines 24–25: O ye lovers who are (presently) set high on the wheel of Fortune, enjoying her favors, 283. always find love (as strong) as steel, 284. also,

The Devonshire Manuscript 107 49.285

It was my choice, it was no chance that brought my heart in other’s hold whereby it hath had sufferance286 longer, perdie,287 than reason would. Since I it bound where it was free, methinks, iwis,288 of right it should accepted be. Accepted be without refuse, unless that fortune have the power all right of love for to abuse, for, as they say, one happy289 hour may more prevail than right or might. If fortune then list for to lour what vaileth290 right? What vaileth right if this be true? Then trust to chance and go by guess. Then whoso loveth may well go sue291 uncertain hope for his redress. Yet some would say assuredly thou may’st appeal for thy release to fantasy. To fantasy pertains to choose. All this I know, for fantasy first unto love did me induce. But yet I know as steadfastly that if love have no faster knot,

285. Poem 49: hand 4. See poem 40 for another copy of the first 12 lines. 286. endured suffering 287. indeed, 288. assuredly, 289. (1) fortunate (2) joyful 290. avails 291. pursue

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108 The Devonshire Manuscript so nice292 a choice slips suddenly; it lasteth not. It lasteth not that stands by change. Fancy doth change, fortune is frail, 30 both these to please the ways is strange. Therefore, methinks, best to prevail293 there is no way that is so just as truth to lead, though t’other fail, and thereto trust. 35

[A blank unnumbered leaf.]

50.294

Such vain thought as wonted to mislead me [31r] in desert hope by well-assurèd moan,295 maketh me from company to live alone in following her whom reason bid me flee. She flyeth as fast by gentle cruelty, 5 and after her mine heart would fain be gone,296 but armèd sighs my way doth stop anon ’twixt hope and dread, lacking my liberty. Yet, as I guess, under the scornful brow, one beam of pity is in her cloudy look 10 which comforteth the mind that erst297 for fear shook, and therewithal bolded, I seek the way how

292. silly, foolish 293. to succeed best 294. Poem 50: hand 4. By Wyatt. Also in E, AH, and Tottel. A translation of Petrarch, Rime 169; see M&T, 309–10. The initials TW at the end ascribe the poem to Sir Thomas Wyatt. 295. Lines 1–2. Perhaps: Such vain thoughts as used to mislead my barren hopes with complaints that were over-confident of being heard, 296. desires to go, 297. formerly

The Devonshire Manuscript 109 to utter the smart that I suffer within, but such it is, I not298 how to begin. T W [31v is blank.]

51.299

So unwarely300 was never no man caught with steadfast look upon a goodly face as I of late, for suddenly me thought my heart was torn out of his place.

[32r]

Through mine eye the stroke from hers did slide, 5 directly down into my heart it ran, in help whereof, the blood thereto did slide301 and left my face302 both pale and wan. Then was I like a man for woe amazèd or like the bird that flyeth into the fire,303 10 for while that I on her beauty gazèd, the more I burnt in my desire. Anon the blood started in my face again, inflamed with heat that it had at my heart,304

298. know not 299. Poem 51: hand 4. Also in Tottel. The initial W at the end ascribes the poem to Wyatt. 300. unexpectedly 301. “slide” repeats the rhyme word from line 5. Tottel has “glide.” 302. From the Tottel version. D has “place,” which seems to be a mistake. 303. Perhaps a commonplace of the period. Compare e.g., “those simple seely birdes which fly into the fire thinking they are in the warm sun,” (Théodore de Bèze, Sermons Upon the Three Chapters of the Canticle of Canticles, trans. John Harmar, London: Joseph Barnes, 1587), 277. 304. The heart was thought to be a source of heat.

110 The Devonshire Manuscript and brought therewith throughout in every vein 15 a quaking heat with pleasant smart. Then was I like the straw when that the flame is driven therein by force and rage of wind. I cannot tell, alas, what I shall blame, nor what to seek, nor what to find. But well I wot305 the grief holds me so sore, in heat and cold, betwixt hope and dread,306 that but her help to health doth me restore, this restless life I may not lead.

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[32v is blank.]

52.307

The knot which first my heart did strain when that your servant I became doth bind me still for to remain always308 your own as now I am, and if ye find that I do feign, with just judgment myself I damn to have disdain. If other thought in me do grow but309 still to love you steadfastly, if that the proof do not well show

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305. know 306. The phrase “betwixt hope and dread” echoes line 8 of the previous poem. 307. Poem 52: hand 4. This is a version of poems 35 (which breaks off after a few lines) and 38, both in hand 3. Also in B. 308. D has “all was” both in this version and in poem 38. 309. other than

The Devonshire Manuscript 111 that I am yours assuredly, let every wealth turn me to woe and you to be continually my chiefest foe. If other love or new request do seize my heart but only this, or if within my wearied breast be hid one thought that means amiss, I do desire that mine unrest may still increase and I to miss that I love best. If in my love there be one spot of false deceit or doubleness, or if I mind to slip this knot by want of faith or steadfastness, let all my sorrows be forgot and when I would have chief redress esteem me not. But if that I consume in pain with burning sighs and fervent love, and daily seek none other gain but with my deeds these words to prove, methink of right I should obtain that ye would mind for to remove your great disdain. And for the end of this my song, unto your hands I do submit my deadly grief and pains so strong which in my heart be firmly shut; and when ye list, redress my wrong, since well ye know this painful fit310 hath last too long. 310. (1) painful experience (2) song

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112 The Devonshire Manuscript [34r is blank.]

53.311

If fancy would favor, as my deserving shall, my love, my paramour, should love me best of all. But if I cannot attain the grace that I desire, then may I well complain my service and my hire. Fancy doth know how to further my true heart if fancy might avow312 with faith for to take part.313 For fancy at his lust314 doth rule all but by guess. Whereto should I then trust in truth or steadfastness? Yet gladly would I please the fancy of her heart; that may me only ease and cure my careful smart.

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Therefore, my lady dear, set once your fantasy to make some hope appear of steadfast remedy. 311. Poem 53: hand 4. By Wyatt. Also in E, AH (lines 9–36 only), and Court of Venus. 312. agree 313. In all other versions of the poem, an extra stanza is inserted here. 314. pleasure

The Devonshire Manuscript 113 For if he be my friend315 25 and undertake my woe, my grief is at an end— if he continue so. Else fancy doth not right as [I] deserve and shall: to have you day and night to love me best of all.

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[35r is blank.]

54.316

The wandering gadling in the summer tide317 [35v] that finds the adder with his reckless foot starts not dismayed so suddenly aside as jealous despite did, though there were no boot,318 when that he saw me sitting by her side 5 that of my health is very crop and root; it pleasèd me then to have so fair a grace to sting that heart that would have my place. W

[36r is blank.]

315. “he” refers to the lady’s fancy or fantasy; “friend” has the meaning of patron or supporter, as well as intimate companion. 316. Poem 54: hand 4. By Wyatt, whose name is indicated by the initial W at the end of the poem. Also in E, Tottel, Nugae, and BL, MS Add. 36529 (ca.1560–90). The image may be borrowed from Virgil’s Aeneid 2.378–81. The Earl of Surrey echoed Wyatt’s poem when translating the same passage from the Aeneid; see M&T, 305. 317. the wandering vagabond in the summer season 318. help,

114 The Devonshire Manuscript 55.319

The lively sparks that issue from those eyes [36v] against the which ne vaileth no defense have pressed mine heart and done it none offence with quaking pleasure more than once or twice.320 Was never man could anything devise 5 the sunbeams to turn with so great vehemence to daze man’s sight321 as, by their bright presence, dazèd am I; much like unto the guise322 of one stricken with dint323 of lightening, blinded with the stroke, erring here and there. 10 324 So call I for help, I not when nor where, the pain of my fault patiently bearing. For, after the blaze, as is no wonder, of deadly “nay” hear I the fearful thunder.

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56.325

Though I cannot your cruelty constrain for my goodwill to favor me again, though my true and faithful love have no power your heart to move, yet rue upon my pain.

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Though I your thrall must ever more remain and for your sake my liberty restrain, 319. Poem 55: hand 4. By Wyatt. Also in E, AH, and Tottel. For debts to Petrarch, Rime 258, see M&T, 305–6. 320. Lines 1–4: The sparks from her eyes, against which no defense is effective, have thrilled and assaulted my heart only once or twice (i.e., she has looked at me only once or twice). 321. Lines 5–7: No man ever devised sunbeams that could so daze man’s sight 322. manner 323. stroke 324. know not 325. Poem 56: hand 4. By Wyatt. Also in E and AH.

The Devonshire Manuscript 115 the greatest grace that I do crave is that ye would vouchsafe326 to rue upon my pain.

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Though I have not deservèd to obtain so high reward but thus to serve in vain, though I shall have no redress, yet, of right, ye can no less but rue upon my pain.

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For I see well that your high disdain will no wise grant that I shall more attain. Yet ye must grant at the least this my poor and small request: to rue upon my pain.

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57.327

Sometime I fled the fire that me brent,328 [38v] by hills, by dales, by water, and by wind, and now I follow the coals that be quenched329 from Dover to Calais against my mind. Lo, how desire is both sprung and spent! 5 And he may see that whilom330 was so blind,

326. D has “wytsave,” indicating how “vouchsafe” (grant) might have been pronounced. 327. Poem 57: hand 4. By Wyatt. Also in E, AH, Tottel, and BL, MS Harley 78 (mid-sixteenth century), lines 1–4. The poem is thought to refer to Wyatt’s journey to Calais in October 1532 in attendance on Anne Boleyn, with whom he had once been enamored, before her marriage to Henry VIII; see M&T, 311. 328. burnt, 329. D’s spelling, “quent,” preserves the rhyme. 330. formerly

116 The Devonshire Manuscript and all his labor now he laugh to scorn, meshèd in the briars that erst was all to-torn.331

T Wiat

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58.332

What death is worse than this? When my delight, my worldly joy, my bliss, is from my sight both day and night, my life, alas, I miss.

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For though I seem alive, my heart is hence. Thus, bootless333 for to strive. Out of presence 10 of my defense334 toward my death I drive. Heartless, alas, what man may long endure? Alas, how live I then? Since no recure335

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331. [he who is now] entangled in briars, was already torn to pieces. To be “entangled in briars” (in trouble) is proverbial: Tilley, B672, B673; ODEP, 452. 332. Poem 58: hand 4. By Wyatt. There is another version of this poem in D (poem 134). Also in E. 333. useless 334. what keeps me alive (i.e., her presence) 335. remedy, recovery

The Devonshire Manuscript 117 may me assure, my life I may well ban.336 Thus doth my torment grow in deadly dread. 20 Alas, who might live so, alive as dead, a life to lead, a deadly life in woe?

59.337

Thy promise was to love me best and that thy heart with mine should rest, and not to break this thy behest.338 Thy promise was, thy promise was. Thy promise was not to acquit my faithfulness with such despite, but recompense it if thou might. Thy promise was, thy promise was. Thy promise was, I tell thee plain, my faith should not be spent in vain, but to have more should be my gain. Thy promise was, thy promise was. Thy promise was to have observed my faith like as it hath deserved and not causeless thus to a’swerved.339 Thy promise was, thy promise was.

336. curse. 337. Poem 59: MD’s hand. 338. vow. 339. have swerved.

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118 The Devonshire Manuscript Thy promise was, I dare avow, but it is changèd, I wot340 well how. Though then were then and now is now, thy promise was, thy promise was.

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But since to change thou dost delight, and that thy faith hath ta’en his flight, as thou deservest I shall thee quit,341 I promise thee, I promise thee. finis342

60.343

I see the change from that that was and how thy faith hath ta’en his flight, but I with patience let it pass and with my pen this do I write to show thee plain by proof of sight I see the change.

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I see the change of wearied mind and slipper hold, hath quit my hire.344 Lo, how by proof in thee I find a burning faith in changing fire.345 10 Farewell my part,346 proof is no liar, I see the change.

340. know 341. repay, avenge, 342. Not in MD’s hand. 343. Poem 60: MD’s hand. The first two lines echo lines 21 and 22 of the previous poem, suggesting poem 60 is either a response thereto or a poem linked by the same theme. 344. Lines 7–8: I see your shifting mind, wearied (of me), and your unstable affections are the reward I have received for my service. 345. a faith that is being consumed in a fire (lust?) that is ever wavering. 346. my share in or my concern with (this affair),

The Devonshire Manuscript 119 I see the change of chance in love; delight no longer may abide. What should I seek further to prove? No, no, my trust, for I have tried the following of a false guide. I see the change. I see the change, as in this case,347 has made me free from mine avow, for now another has my place and ere I wist, I wot ne’er how,348 it happened thus as ye hear now. I see the change. I see the change, such is my chance to serve in doubt and hope in vain. But since my surety so doth glance,349 repentance now shall quit thy pain350 never to trust the like again. I see the change.

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finis351

61.352

There is no cure for care of mind but to forget, which cannot be. I cannot sail against the wind

347. by this example, 348. before I knew, I don’t know how, 349. Since my certainty (of you) is so misdirected (glances off like an arrow from its target), 350. reward thy pain. D has “thy,” but this is perhaps an error for “my” which makes better sense. 351. Some writing at the top of this leaf and a small oval in front of the finis have been cut out of the manuscript (the gaps left were later repaired). In the latter case, MD had begun (perhaps mistakenly) copying the first line of another stanza. 352. Poem 61: MD’s hand.

120 The Devonshire Manuscript nor help the thing past remedy. If any such adversity do trouble other with suchlike smart, this shall I say for charity: I pray God help every woeful heart.

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62.353

As for my part I know no thing whether that ye be bound or free, but yet of late a bird did sing that ye had lost your liberty. If it be true, take heed betime, and if thou may’st honestly fly leave off and slake this foulest crime354 that toucheth much thine honesty. I speak not this to know your mind nor of your counsel for to be, but if I were, thou should me find thy faithful friend assuredly.



353. Poem 62: MD’s hand. 354. cease or mitigate this shameful act

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The Devonshire Manuscript 121 63.356

In the name of god amen355

To my mishap, alas, I find that happy hap357 is dangerous, and fortune works but her kind358 to make the joyful dolorous. But all too late it comes in mind to wail the want which made me blind; so often warned. Amidst my mirth and pleasantness such chance is chancèd suddenly that in despair to have redress I find my chiefest remedy. No new kind of unhappiness should thus have left me comfortless, so often warned. Who could have thought that my request should have brought forth such bitter fruit? But now is happed359 that I feared least and all this grief comes by my suit, for where I thought me happiest even there I found my chiefest unrest, so often warned.

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355. Written across the top of the leaf. Not in MD’s hand. 356. Poem 63: MD’s hand. Also in B; Oxford, MS Ashmole 48 (text reprinted in Thomas Wright, ed., Songs and Ballades with Other Short Poems, Chiefly of the Reign of Philip and Mary, 1860, repr., NY: Burt Franklin, 1970); Columbia University, MS Plimpton 276 (ca.1579); and Tottel. The number and order of stanzas varies from copy to copy, but Rebholz , 504, points out that the initial letters of the poem make up the letters of Wyatt’s name: T-A-W-I-T (in the order in which they appear in the D version). If this is deliberate, the correct order of the stanzas in D may be 1-3-4-2-5 (T WIAT). Rebholz suggests that the acrostic is a tribute to Wyatt, rather than a sign that he composed the poem. 357. lucky or glad chance 358. what is natural to herself 359. chanced, come to pass

122 The Devonshire Manuscript In better case was never none, and yet360 unwares361 thus am I trapped. My chief desire doth cause me moan, and to my pain my wealth is happed.362 Was never man but I alone that had such hap to wail and groan; so often warned. Thus am I taught for to beware and not to trust such pleasant chance. My happy hap has bred this care and turned my mirth to great mischance. There is no man that hap363 will spare, but when she list our wealth is bare. Thus am I warned.

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finis

64.364

“How should I [43r] be so pleasant in my semblant365 as my fellows be?” Not long ago 5 it chancèd so as I walkèd alone,

360. D has “ye.” 361. unwary 362. my felicity has turned out to be the cause of my pain. 363. Fortune (personified routinely as a woman). 364. Poem 64: MD’s hand. There is another version of eight stanzas in D (poem 147). The first four lines are the “burden” or refrain, spoken by the complainer. I have inserted quotation marks to differentiate between the voice of the poet and the voice of the lover he overhears. These speech marks are not in D. 365. appearance

The Devonshire Manuscript 123 I heard a man that now and then himself thus did bemoan: “Alas,” he said, “I am betrayed and utterly undone. Whom I did trust and think so just another man has won.

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“My service due and heart so true on her I did bestow. I never meant 20 for to repent in wealth nor yet in woe. “Love did assign her to be mine and not to love none new, but who can bind their fickle kind that never will be true? “The western wind366 has turnèd her mind and blown her clean away, whereby my wealth,367 my mirth, my health, is turned to great decay.

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366. The phrase “western wind” recurs in verse of the period: a song “Westron wynde when wyll thow blow” appears in BL, MS Royal Appendix 58 (ca.1507–ca.1547) with music, and music entitled “The Western wind,” but without a text, appears in BL, MS Add. 17802–5 (1550s). 367. well being,

124 The Devonshire Manuscript “Where is the truth? Where is the oath368 35 that ye to me did give? Such crafty words and wily bourds369 let no young man believe. “How should I 40 be so pleasant in my semblant as my fellows be?” finis

65.370

What needeth life when I require nothing but death to quench my pain? Fast flyeth away that I desire and double sorrows return again; by proof I see before mine eyen another hath that once was mine. That I was wont to have in hold is slipped away full suddenly, and craftily I am withhold from all my life and liberty, so that I see before mine eyen another hath that once was mine.

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368. In D, the rhyme words are spelled “trowth” and “owth.” 369. sly tricks 370. Poem 65: MD’s hand. The final stanza, while still in MD’s hand, is written with a broader pen point and in larger script than the rest of the poem. Perhaps this stanza was added at another time. The final stanza suggests the poem is in a woman’s voice; see my Introduction, 21 and Plate 3.

The Devonshire Manuscript 125 It is no news to find, I know, for faithfulness to find untruth, but I perceive the wind doth blow a crafty way to cloak the truth.371 By which I see before mine eyen another hath that once was mine. A proverb old I have heard oft: that a light love lightly doth go.372 Now am I low that was aloft, that was my friend is now my foe. So that I see before mine eyen another hath that once was mine. Since right with wrong hath his reward, and feigned faith doth truth oppress, I let it pass,373 and it regard as I have cause no more nor less, because I see before mine eyen another has that once was mine.

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What heart could think more than was thought? Or tongue could speak more than was spoke? Yet what for that? All was for naught, for he374 is gone and slipped the knot. Whereby I see before my eyen 35 another has that once was mine.

371. I see how affairs are being arranged so as to cover over the truth. 372. Proverbial: Tilley, C533; ODEP, 463. 373. I do not challenge it, (i.e., my lover’s faithlessness). 374. This pronoun, in the last stanza, makes it clear that the poem is in a woman’s voice.

126 The Devonshire Manuscript 66.375

And this be this ye may, assure yourself of me, nothing shall make me to deny that I have promised thee.

67.376

To joy in pain, my will doth will to will me still, for pain now in this case appeareth joy in place. Although my pain be greater than can be told or thought, my love is still the better the dearer it is bought. Thus do I joy in pain, yet do I not obtain the thing that I would fain, wherefore I say again:

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Although my pain etc. I have heard say ere this, full many a time and oft: that is fetched for ladies far-fetched and dearly bought.

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375. Poem 66: MD’s hand. Perhaps a comment on the theme of the previous poem, from which it is separated by a thick black line. 376. Poem 67: TH1. Poems 67–70 may be a group of Lord Thomas Howard’s poems, see Introduction, 23–24. Lines 5–8 of this poem are the “burden” or refrain. In this poem a marginal mark “ū” indicates each repetition of the “burden.”

The Devonshire Manuscript 127 So though my pain etc. This marvels much to me377 how these two can agree, both joy and pain to be in place both twain, perdie.378

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68.379

If reason govern fantasy so that my fancy judge aright, of all pleasures to man earthly the chiefest pleasure of delight is only this that I recite: for friendship showed to find at end the friendship of a faithful friend. If this be true, true is this too: in all this pleasant evenness380 the most displeasure chance may do is unkindness showèd for kindness, for friendly friendship frowardness;381 like as the one case pleasant is likewise a painful case is this.382

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377. This is a great marvel to me 378. by God. 379. Poem 68: TH1. The poem is ascribed to Lord Thomas Howard at the end. 380. That is, the equilibrium of friendship returned. Given the language of reason and logic used throughout this poem, there may be a reference to the Aristotelian “mean,” a balanced and rational control of the affections. Aristotle discusses this ideal in relation to friendship in Books 8 and 9 of the Ethics. 381. surliness; 382. as true friendship is pleasant, so unkindness, or surliness, is painful.

128 The Devonshire Manuscript These two approvèd, approve the third:383 15 that is to say, my self to be in woeful case. For, at a word, where I show friendship and would see for friendship, friendship showèd to me, there find I friendship so far fainted that I scantly384 may seem acquainted. By this word friendship now here said, my meaning to declare truly: I mean no whit the burning braid385 of raging love most amorously, but honest friendly company. And other love than this, I know herself nor yet none other can show. And since herself no farther knoweth, nor I myself but as I tell— though false report as grass doth groweth386 that I love her exceeding well and that she taketh my love as ill—387 since I indeed mean no such thing, what hurt could honest friendship bring? No staring eye nor harkening ear can hurt in this, except that she have other friends that may not bear in her presence, presence of me, and that for that her pleasure be

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383. The poet refers to syllogistic reasoning in which a third position can be inferred from two agreed propositions. 384. barely 385. I don’t at all mean the passionate outburst 386. D has “doth grass as groweth” 387. Lines 29–33. Perhaps: Since neither she nor I know more than I say—although the rumor is spreading that I love her very much and that she resents my love—

The Devonshire Manuscript 129 to show unkindness for none other but banish me to bring in other.388 But since that fancy leads her so, and leads my friendship from the light and walketh me darkling389 to and fro while other friends may walk in sight, I pray for patience in that spite. And thus fulfillèd her appetite, I shall example be, I trow:390 ere friends show friendship, friends to know.

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69.391

What helpeth hope of happy hap392 [46v] when hap will hap unhappily? What helpeth hope to flee the trap which hap doth set maliciously? My hope and hap hap contrary, 5 for as my hope for right doth long so doth my hap award me wrong.

388. Lines 36–42: Gossip and rumor cannot hurt unless she have other friends who cannot bear my being in her presence, and unless she choose, because of this, to show me unkindness and banish me in order to win the favor of others. 389. in the dark. D has “darling.” Muir suggests “darkling” (281). 390. I trust: 391. Poem 69: TH1. 392. good fortune. Throughout this poem the meaning of “hap” as a noun moves between “fortune,” “chance,” “luck,” and “fate.” As a verb it may mean “happen” or “chance.”

130 The Devonshire Manuscript And thus my hap my hope hath turned clear out of hope into despair, for though I burn and long have burned in fiery love of one most fair, where love for love should keep the chair there my mishap is overpressed to set disdain for my unrest.393 She knoweth my love of long time meant, she knoweth my truth, nothing is hid, she knoweth I love in good intent as ever man a woman did, yet love for love in vain askèd. What cloud hath brought this thunderclap? Shall I blame her? Nay I blame hap. For whereas hap list to arise,394 I see both she and other can for little love much love devise;395 and sometime hap doth love so scan someone to leave her faithful man, whom, saving bondship, nought doth crave, for him she ought nor cannot have.396 Howbeit that hap maketh you so do, so say I not nor otherwise, but what such haps, by hap, hap to, hap daily showeth in exercise.397

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393. Lines 12–14: where mutual love should reign supreme, I am so unfortunate as to have (the lady’s) disdain set over me to trouble me. 394. Where chance or fortune is in the ascendant, 395. contrive to arouse much love in return for little; 396. Lines 25–28: and sometimes chance passes such judgment (“so scan”) on love that someone leaves her faithful suitor, who craves only to be her slave, for one whom she neither ought nor can have. 397. Lines 29–32: Although I don’t deny that it is fortune that makes you behave so, that which fortune, by chance, brings about, fortune (or chance) daily brings to light.

The Devonshire Manuscript 131 As power will serve, I you advise to flee such hap for hap that groweth,398 and pardon me your man Tom Truth.399 Some take no care where they have cure,400 some have no cure and yet take care, and so do I, sweetheart. Be sure my love must care for your welfare. I love you more than I declare, but as for hap happing thus ill, hap shall I hate, hap what hap will.

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70.401

This rooted grief will not but grow, to wither away is not its kind;402 my tears of sorrow full well I know which, will I leave,403 will not from mind.

71.404

[47v]

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Heart oppressed with desperate thoughts is forcèd ever to lament, which now in me so sore hath wrought that needs to it I must consent;

398. flourishes, 399. The name is proverbial: Tilley,T382; ODEP, 828. 400. (1) responsibility, (2) the power to heal, 401. Poem 70: TH1. Ascribed to Lord Thomas Howard at the end. 402. nature; 403. were I to wish to leave them, 404. Poem 71: hand 11. This is the only poem copied in this “very untidy” hand (Baron, 332). Also in AH.

132 The Devonshire Manuscript wherefore all joy I do refuse and cruel will thereof accuse. If cruel will had not been guide, despair in me had no place, for my true meaning she well espied, but yet for all that would give no grace; wherefore all joy I do refuse and cruel will thereof accuse. She might well see, and yet would not, and may daily, if that she will, how painful is my hapless lot, joined with despair me for to spill;405 wherefore all joy I do refuse and cruel will thereof accuse.

71a.406

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O heart oppressed with desp O heart oppressed

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405. destroy; 406. An italic hand has started copying the opening line of poem 71, crossed it out, and then started again.

The Devonshire Manuscript 133 72.407 So feeble is the thread that doth the burden stay [49r] of my poor life in heavy plight that falleth in decay, that but it have elsewhere some aid or some succours,408 the running spindle of my fate409 anon shall end his course. Since th’unhappy hour [that] did me to depart 5 from my sweet weal,410 one only hope hath stayed my life apart which doth persuade such words unto my sorry mind: “Maintain thyself, O woeful sprite, some better luck to find, for though thou be deprived from thy desired sight, who can thee tell if thy return be for thy most delight? 10 Or who can tell thy loss if thou once must recover? Some pleasant hour thy woe may rape and thee defend and cover.”411 This is the trust that yet hath my life sustained, and now, alas, I see it faint and by trust am trained.412 The time doth fleet and I perceive the hours how they bend 15 so fast that I have scant the space to mark my coming413 end. Westward the sun from out th’east scant doth show his light when in the west he hides him straight within the dark of night, and comes as fast where [he] began his path awry, from east to west, from west to th’east, so doth his journey lie. 20 The life so short, so frail, that mortal men live here, so great a weight, so heavy charge, the body that we bear, that when I think upon the distance and the space 407. Poem 72: hand 5 (the only poem in this hand). By Wyatt. Also in E (in Wyatt’s own hand), AH, and Tottel. The poem translates Petrarch, Rime 37; see M&T, 335–38. The poem is titled “In Spain” in E and was almost certainly written during Wyatt’s embassy in Spain between June 1537 and June 1539. During this period Wyatt’s duties kept him absent from his mistress, Elizabeth Darrell; see M&T, 338. For a more detailed account of Wyatt’s anxieties toward the end of his embassy, see Muir, Life and Letters, 83–94. 408. help, 409. In Classical mythology, the fates were imagined as three sisters spinning and cutting the thread of life. 410. state of well-being, 411. Lines 10–12: Who can tell whether your return will produce the greatest delight? Or whether you will recover what is lost? One pleasant hour may take away your woe and vindicate and protect you. (The quotation marks around lines 8–12 are editorial additions.) 412. (1) led along. (2) deceived. 413. D has “comyd.”

134 The Devonshire Manuscript that doth so far divide me from my dear desired face, I know not how t’attain the wings that I require 25 414 to lift my weight that it might flee to follow my desire. Thus of that hope that doth my life something sustain, alas, I fear, and partly feel,415 full little doth remain. Each place doth bring me grief where I do not behold those lively eyes which of my thoughts were wont the keys to hold. 30 [49v] Those thoughts were pleasant sweet whilst I enjoyed that grace, 416 my pleasure past, my present pain, where I might embrace. But for because my want should more my woe increase, in watch, in sleep, both day and night, my will doth never cease that thing to wish, whereof, [since] I did lose the sight, 35 I never saw the thing that might my faithful heart delight. Th’uneasy life I lead doth teach me for to mete417 the floods, the seas, the land and hills that doth them intermeet418 ’tween me and those shining lights that wonted419 to clear my dark pangs of cloudy thoughts as bright as Phoebus420 sphere. 40 It teacheth me also what was my pleasant state, the more to feel, by such record, how that my wealth doth bate.421 If such record,422 alas, provoke th’enflamèd mind which sprang423 that day that I did leave the best of me behind, if love forget himself by length of absence let,424 45 who doth me guide, O woeful wretch, unto this baited net 414. Tottel has “fly,” which may better fit the imagery. 415. D has “fle.” 416. Lines 31–32: while I enjoyed my lady’s beauty and kindness which was my pleasure and is now my pain and which I used to embrace. 417. dream 418. interpose themselves 419. used 420. In Classical mythology, a name for the sun-god. 421. how my well-being is diminished. 422. memories, 423. arose, originated 424. hindered by length of absence,

The Devonshire Manuscript 135 where doth increase my care? Much better were for me, as dumb as stone, all thing forgot, still absent for to be. Alas the clear crystal, the bright transparent glass, doth not bewray425 the color hid, which underneath it has, 50 426 as doth th’accumbered sprite thoughtful throes discover of fierce delight, of fervent love, that in our hearts we cover; out by these eyes it showeth, that ever more delight in plaint and tears, to seek redress, and that both day and night.427 These new kinds of pleasures wherein most men rejoice, 55 to me they do redouble still of stormy sighs the voice. For I am one of them whom plaint doth well content; it sits me well mine absent wealth, me seems me, to lament, and with my tears for to assay to charge my eyes twain, like as mine heart above the brink is freighted full of pain.428 60 [50r] And for because thereto of those fair eyes to treat do me provoke,429 I shall return, my plaint thus to repeat, for there is nothing else that toucheth me so within where they430 rule all and I alone naught but the case or skin. Wherefore I do return to them, as well or spring 65 from whom descends my mortal woe above all other thing. So shall my eyes in pain accompany my heart that were the guides that did it lead of love to feel [the] smart. The crisped gold that doth surmount Apollo’s pride,431 the lively streams of pleasant stars that under it doth glide, 70

425. give a glimpse of 426. as the over-burdened spirit or mind betrays fitful moods (“thoughtful throes”) 427. Lines 53–54: (my love) reveals itself, seeking redress, by starting out at my eyes which delight in complaint and tears both day and night. 428. Lines 59–60: to try to load my eyes with tears, as my heart is full above the brink with pain. 429. Lines 61–62. Perhaps: because writing about those fair eyes provokes me to tears (“thereto”), 430. That is, her eyes. 431. Apollo’s hair. Apollo, another name for the Classical sun god, was depicted with flowing curly locks.

136 The Devonshire Manuscript wherein the beams of love doth still increase their heat which, yet so far, touch so near, in cold to make me sweat; the wise and pleasant talk, so rare or else alone,432 that did me give the courteous gift that such had never none, be far from me, alas. And every other thing 75 I might forbear with better will than that [that]433 did me bring, with pleasant word and cheer, redress of linger[ed] pain, and wonted oft, in kindled will, to virtue me to train.434 Thus am I driven to hear and hearken after news, my comfort scant, my large desire in doubtful trust renews. 80 And yet, with more delight to mourn my woeful case, I must complain those hands, those arms, that firmly do embrace me from myself, and rule the stream of my poor life; the sweet disdains, the pleasant wraths, and that eke435 lovèd strife that wonted well to tune, in temper just and meet,436 85 the rage437 that oft did make me err by furor indiscreet. All this is hid me fro’ with sharp and craggèd hills, at other will438 my long abode my deep despair fulfils. [50v] But if my hope sometimes rise up by some redress, it stumbleth straight for feeble faint, my fear hath such express.439 90 440 Such is the sort of hope, the less for more desire, whereby I fear and yet I trust, to see that I require: the resting place of love, where virtue live and grows, where I desire my weary life also may sometime take repose.

432. unique, 433. D has “that I.” I have substituted “that” from E. It is the beloved’s presence that he misses. 434. and which often stirred me up to desire to behave virtuously. 435. also that 436. used to bring into harmony, carefully moderated, 437. D has “charge.” I have substituted “rage” from E. 438. A reference to Wyatt’s role as an ambassador for Henry VIII in Spain at the time this poem is likely to have been written; see note 407. 439. E has “excess.” 440. fate

The Devonshire Manuscript 137 My song, thou shalt attain to find that pleasant place 95 where she doth live by whom I live. May chance thee have this grace: when she hath read and seen the dread wherein I sterve,441 between her breasts she shall thee put; there shall she thee reserve. Then tell her [that] I come, she shall me shortly see, if that for weight the body fail, this soul shall to her fly. 100 finis

73.442

Full well it may be seen [51r] to such as understand, how some there be that ween they have their wealth at hand through love’s abusèd band,443 5 but little do they see th’abuse wherein they be. Of love there is a kind which kindleth by abuse, as in a feeble mind whom fancy may induce, by love’s deceitful use, to follow the fond lust and proof of a vain trust. As I myself may say, by trial of the same, no wight444 can well bewray445

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138 The Devonshire Manuscript the falsehood love can frame. I say, twixt grief and game,446 there is no living man that knows the craft love can. For love so well can feign to favor for the while, that such as seeks the gain are servèd with the guile; and some can this concile to give the simple leave themselves for to deceive.447

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What thing may more declare of love the crafty kind,448 30 than see the wise, so ware,449 in love to be so blind. If so it be assigned, let them enjoy the gain that thinks it worth the pain. 35 finis

74.450

Since love is such that, as ye wot,451 [51v] cannot always be wisely usèd, I say, therefore, then blame me not though I therein have been abusèd. For as with cause I am accusèd, 5 guilty I grant, such was my lot,

446. jest, 447. Lines 26–28: some are so complicit as to give themselves permission to be deceived. 448. nature, 449. wary, 450. Poem 74: hand 6. 451. know,

The Devonshire Manuscript 139 and though it cannot be excusèd, yet let such folly be forgot. For in my years of reckless youth methought the power of love so great that to her laws I bound my truth and to my will there was no let.452 Me list no more so far to fetch such fruit, lo, as of love ensueth.453 The gain was small that was to get, and of the loss the less the ruth.454 And few there is but, first or last, a time in love once shall they have, and glad I am my time is past. Henceforth my freedom to withsave455 now in my heart there shall I grave the grounded456 grace that now I taste. Thankèd be fortune that me gave so fair a gift, so sure and fast. Now such as have me seen ere this— when youth in me set forth his kind457 and folly framed my thought amiss, the fault whereof now well I find— lo, since that so it is assigned that unto each a time there is,

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452. hindrance. 453. follows, results. 454. Lines 15–16: Since there is small gain in love, its loss is less to be pitied. 455. preserve. Note that the only other use of this word recorded in the OED is in poem 79, also copied by hand 6. 456. firmly established 457. nature

140 The Devonshire Manuscript then blame the lot458 that led my mind sometime to live in love’s459 bliss. But from henceforth I do protest, by proof of that that I have passed, shall never cease within my breast the power of love so late outcast; the knot thereof is knit full fast and I thereto so sure professed, for evermore with me to last the power wherein I am possessed.

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75.460

Lo, how I seek and sue to have that no man hath and may be had, there is [no] more but sink or save and bring this doubt to good or bad; to live in sorrows, always sad, I like not so to linger forth. Hap evil or good, I shall be glad to take that comes as well in worth.461 Should I sustain this great distress, still wandering forth thus to and fro, in dreadful hope to hold my peace and feed myself with secret woe? Nay, nay, certain I will not so, but sure I shall my self apply

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458. fate or fortune 459. The possessive, “love’s,” is written as “loves” in D, pronounced with two syllables. Pronounced in this way, the line is a regular tetrameter. 460. Poem 75: hand 6. 461. Lines 8–9: Whether evil or good, I shall be relieved to know the truth, or, I shall be contented to accept the outcome whether it is good or bad; see “worth,” OED, n.1 6 (a) or (b).

The Devonshire Manuscript 141 to put in proof, this doubt to know, and rid this danger readily. I shall assay by secret suit to show the mind of mine intent,462 and my deserts shall give such fruit as with my heart my words be meant.463 So by the proof of this consent,464 soon, out of doubt, I shall be sure for to rejoice or to repent, in joy or pain for to endure.

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76.465

My love is like unto th’eternal fire, and I as those which therein do remain, whose grievous pains is but their great desire to see the sight which they may not attain. So in hell’s heat myself I feel to be that am restrained by great extremity:466 the sight of her which is so dear to me. O puissant love and power of great avail,467 by whom hell may be felt or death assail.

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462. Lines 17–18: I shall attempt by wooing her in secret to show her my intentions, 463. Lines 19–20: my deserving behavior will show that I mean what I say with all my heart. 464. So, by the agreement of my words and deeds which will prove (my sincerity), 465. Poem 76: hand 6. 466. held (in the fire) by an extreme experience: 467. value, efficaciousness,

142 The Devonshire Manuscript 77.468

Since so ye please to hear me plain,469 and that ye do rejoice my smart, me list no longer to remain to such as be so overthwart.470 But cursèd be that cruel heart which hath procurèd471 a careless mind for me and mine unfeignèd smart, and forceth me such faults to find. More than too much I am assurèd of thine intent, whereto to trust, a speedless472 proof I have endurèd; and now I leave it to them that lust.

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78.473

If in the world there be more woe than I have now within my heart, whereso it is, it doth come fro474 and in my breast there doth it grow for to increase my smart. Alas, I am receipt475 of every care, and of my life each sorrow claims his part. Who list to live in quietness, by me let him beware,

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468. Poem 77: hand 6. It is not clear in D whether this poem is set out as three stanzas or is continuous. I have followed the rhyme scheme to divide it into stanzas. 469. complain, moan, 470. perverse, hostile. 471. acquired or developed 472. unprofitable, unsuccessful 473. Poem 78: hand 6. By Wyatt. Also in E. 474. from wherever it is, it comes from there (into my breast) 475. receptacle; perhaps punning on “receipt,” recipe or formula (for every care).

The Devonshire Manuscript 143 for I by great disdain am made without redress,476 and unkindness hath slain a simple heart all comfortless.

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79.477

Now must I learn to live at rest and wean me of my will, for I repent where I was pressed my fancy to fulfill. I may no longer more endure my wonted478 life to lead, but I must learn to put in ure479 the change of womanhood.480 I may not see my service long rewarded in such wise, nor I may not sustain such wrong that ye my love despise. I may not sigh in sorrows deep nor wail the want of love, nor I may neither crouch nor creep where it doth not behove.481

476. am put beyond the possibility of remedy, 477. Poem 79: hand 6. 478. accustomed 479. put to use 480. the fickleness of women. D’s spelling, “womanhede,” preserves the rhyme. 481. where it is not due.

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144 The Devonshire Manuscript But I, of force,482 must needs forsake my faith so fondly483 set, and from henceforth must undertake such folly to forget. Now must I seek some other ways myself for to withsave,484 and, as I trust, by mine assays485 some remedy to have. I ask none other remedy to recompense my wrong, but once to have the liberty that I have lacked so long.

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80.486

Forget not yet the tried intent of such a truth as I have meant,487 my great travail488 so gladly spent. Forget not yet. Forget not yet when first began the weary life, ye know since when; the suit, the service, none tell can. Forget not yet.

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482. by necessity, 483. foolishly 484. preserve. Note that the only other use of this word in the OED is in poem 74, also copied by hand 6. 485. attempts 486. Poem 80: hand 6. 487. Lines 1–2: Still, don’t forget the well-tested firmness of my heartfelt faith, (“yet” means both “also” and “still”). 488. exertion, suffering

The Devonshire Manuscript 145 Forget not yet the great assays,489 the cruel wrong, the scornful ways, the painful patience in denies. Forget not yet.

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Forget not yet, forget not this: how long ago hath been and is the mind that never meant amiss.490 15 Forget not yet. Forget not then thine own approvèd,491 the which so long hath thee so lovèd, whose steadfast faith yet never movèd. Forget not this. 20

81.492

O happy dames that may embrace [55r] the fruit of your delight, help to bewail the woeful case and eke493 the heavy plight of me that wonted to rejoice494 5

489. (1) trials, (2) attempts, 490. Lines 14–15: for how long my mind has meant well and continues to do so in the present. 491. the one you have favored, 492. Poem 81: in the hand of Mary Fitzroy, Duchess of Richmond (the only poem in her hand). By Henry Howard, Earl of Surrey, Mary Fitzroy’s brother. The first seven lines are written with music in a song book dated to 1546; see Letters and Papers, Addendum 1 pt. 2, item 1880, and State Papers Online, Gale, Cengage Learning, 2011, s.v. “Part songs,” document ref. no. SP1/446 f.18” (fol.28v) (Gale doc.no.MC4303800591), accessed June 25, 2011. Also in BL, MS Add. 30513 (ca.1550) (first line only, with music), BL, MS Harley 78 (midsixteenth century) (first line and seven lines of music), Tottel, and Nugae. See my Introduction, 17–18. The poem adapts an epistle, “Quella ingannata, afflicta, & miseranda Donna,” by Serafino Aquilano, a late-fifteenth-century Italian poet, which in turn adapts Phyllis’s complaint in Ovid’s Heroides; see Rollins, Tottel’s Miscellany, 2: 143. 493. also 494. used to rejoice in

146 The Devonshire Manuscript the fortune of my pleasant choice; good ladies, help to fill my mourning voice. In a ship fraught495 with remembrance of words and pleasures past, he sails that hath in governance my life while it may last, with scalding sighs for want of gale furthering his hope that is his sail toward me, the sweet port of his avail.496 Alas, how oft in dreams I see those eyes that were my food, which sometime so delighted me that yet they do me good, wherewith I wake with his return whose absent flame doth make me burn, but when I find the lack, lord how I mourn!

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When other lovers in arms across497 [55v] rejoice their chief delight, drowned in tears to mourn my loss I stand the bitter nights 25 in my window where I may see before the winds how the clouds flee; lo what a mariner love has made me! And in green waves, when the salt flood doth swell by rage of wind, a thousand fancies in that mood assail my restless mind: alas, now drenches498 my sweet foe 495. freighted 496. the sweet port where he will find comfort and assistance. 497. Perhaps: with arms around each other 498. drowns

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The Devonshire Manuscript 147 that with spoil of my heart did go, and left me! But alas, why did he so? And when the seas wax calm again to chase from me annoy, my doubtful hope makes me to plain,499 so dread cuts off my joy. Thus is my mirth mingled with woe, and of each thought a doubt doth grow: now he comes! Will he come?500 Alas, no, no.

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82.502

My hope is you for to obtain, Let not my hope be lost in vain. Forget not my pains manifold, Nor my meaning to you untold.503 And eke504 with deeds I did you crave, With sweet words you for to have.

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499. weep, 500. The words “he come” were omitted by Mary Fitzroy and inserted above the line by MD. 501. Some apparently random letters are scrawled across the top of 56r, perhaps to try out a new pen. 502. Poem 82: in the very neat italic hand of Henry Stewart, Lord Darnley, 1545–1567 (Baron, 334). Darnley was Margaret Douglas’s son by her husband, the Earl of Lennox. He married Mary, Queen of Scots, in 1565, and this poem may have been intended for her. He was murdered in Edinburgh in 1567. It seems likely that this poem was entered on a blank leaf sometime after the other entries in D, but before Darnley’s departure for Scotland in February 1565. I have retained Darnley’s use of capital letters at the beginning of each line and also his punctuation, which largely consists of alternating commas and full stops at the end of each line. 503. Nor my uncounted lamentations (“meaning”) to you. This use of “meaning” is characteristic of Scots and Northern English in this period (OED, s.v. “meaning,” n.1 ). Darnley had Scottish parents and was brought up in Yorkshire. 504. also

148 The Devonshire Manuscript To my hap505 and hope condescend, Let not Cupido in vain his bow to bend. Nor us two lovers, faithful, true, Like a bow made of bowing yew. But now receive by your industry and art, Your humble servant Harry Stuart.

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83.506

84.512

When I bethink my wonted507 ways, how508 I ere this have spent my time, and see how now my joy decays and from my wealth509 how I decline, believe, my friends, that such affrays510 doth cause me plain not of the spleen,511 but mourn I may those weary days that are appointed to be mine.

O miserable sorrow withouten cure, if it please thee, lo, to have me thus suffer, at least, yet, let her know what I endure, and this my last voice carry thou thither where lived my hope now dead forever;

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505. good fortune 506. Poem 83: MD’s hand. There is another version (poem 87) in MSh’s hand. 507. accustomed 508. “How” is spelled “who” throughout, perhaps indicating MD’s Scottish pronunciation. 509. state of happiness and well-being 510. alarms 511. does not cause me to complain of melancholy, (this is perhaps intended ironically). 512. Poem 84: hand 7.

The Devonshire Manuscript 149 for as ill grievous is my banishment as was my pleasure when she was present.514

mh513

finis m H515

85.516

Some say I love, some say I mock, some say I cannot myself refrain,517 some say I was wrapped in a woman’s smock, some say I have pleasure, some I have pain. Yet on my faith, if you will believe me, 5 518 none know so well as I where my shoe grieve me.

86.519

My heart is set not [to] remove, for where as I love faithfully, I know he will not slack his love, nor never change his fantasy.

513. Written using a form of lead marker or pencil, perhaps by MD; see notes 39 and 519. 514. Lines 6–7. Either: for my banishment is as harmfully grievous to me now as was my pleasure (harmful to me) when I was in her presence; or: my banishment is as intensely grievous to me as her presence was intensely pleasurable. 515. Written below poem (in ink) in an unidentifiable hand. 516. Poem 85: hand 1 (Baron, 329, was uncertain about assigning this to hand 1, but the ascription seems to me correct). The poem is copied with little regard for metrical line endings. 517. restrain myself, 518. Proverbial: Tilley, M129; ODEP, 725. 519. Poem 86: MD’s hand. The poem is written using a form of lead marker or pencil. MD also copied a three-stanza version (poem 99). Note that the poem is in the voice of a woman. (For other uses of a lead marker or pencil by MD, see notes 39 and 513.)

150 The Devonshire Manuscript I have delight him for to please in all that toucheth honesty; who feeleth grief so it him ease pleaseth doth well my fantasy. And though that I be banished him fro,520 his speech, his sight, and company, yet will I, in spite of his foe, him love and keep my fantasy. Do what they will and do their worst, for all they do is vanity, for asunder my heart shall burst surer521 than change my fantasy.

87.522

When I bethink my wonted523 ways, how I ere now have spent my time, and see how now my joy decays, and from my wealth how I untwine,524 believe, my friends, that such affrays525 doth cause me plain not of the spleen,526 but mourn I may these weary days that are appointed to be mine.



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520. from, 521. The word is very unclear in D. 522. Poem 87: MSh’s hand. There is another copy, in MD’s hand (poem 83). Muir prints poem 88 as the second stanza of this poem. It does share the same meter and rhyme scheme, but poem 88 is copied by MD, and there is a line drawn across the folio between the two poems. Poem 88 may be an answer to poem 87. 523. accustomed 524. am removed, unravel. This word is very difficult to read; “untwine” is my suggestion. The OED, s.v. “untwine,” 1.b., has an example from 1561 of the phrase: “my welthe [ … ] ontwynd.” 525. alarms 526. does not cause me to complain of melancholy, (perhaps intended ironically).

The Devonshire Manuscript 151 88.527

89.530

Lo, in thy haste thou hast begun to rage and rail and reckon528 how, and in thy rage forthwith to run further than reason can allow. But let them leave that list to bow,529 or with thy words may so be won, for as for me, I dare avow to do again as I have done.

Wily531 no doubt, ye be awry,532 [59v] for where ye thought a fool to find, fool farewell. My tale is at an end.

90.534

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E. Knyvet finis533

Too dear is bought the doubleness that peereth out in truth’s stead; for fault of535 faith, newfangleness is chief ruler in womanhood.536 For trusty love, they use hatred, and change is all their steadfastness;

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527. Poem 88: MD’s hand. 528. D seems to have “rekner.” Muir suggested “reckon.” 529. retreat, flee, 530. Poem 89: hand 7. 531. A crafty man. (Sometimes used as a proper name.) 532. wide of the mark, 533. Probably Sir Edmund Knyvet, brother-in-law of Mary Shelton and cousin of Mary Fitzroy. (For his dramatic life, see ODNB, s.v. “Knyvet, Sir Edmund.”) 534. Poem 90: hand 7. 535. for want of 536. D’s spelling, “womanhed,” preserves the rhyme.

152 The Devonshire Manuscript wherefore who trusteth to woman’s faith? Folium eius non defluet.537 finis

91.538

For thilke539 ground that beareth the weeds wicked, beareth eke540 these wholesome herbs as full oft. Next the foul nettle, rough and thick, the rose waxeth soot,541 smooth, and soft, and next the valley is the hill aloft, 5 and next the dark night the glad morrow, and also joy is next the fine542 of sorrow.

92.543

To men that knows ye not [60r] ye may appear to be full clear and without spot, but surely unto me so is your wonted kind,544 5 by proof so surely known, that I will not be blind, mine eyes shall be mine own.

537. “His leaf does not wither”—a quotation from Psalm 1:3, describing the man who follows good counsel, presumably heeding such warnings as those of this poem. 538. Poem 91: TH2. These lines are from Chaucer’s Troilus and Criseyde, bk. 1, lines 946–52. This copyist is fond of using and adapting Chaucerian stanzas (or stanzas thought to be by Chaucer); see poems 48 and 176a–j, and my Introduction, 13 and 26–27. 539. that 540. also 541. fragrant, 542. end 543. Poem 92: MSh’s hand. There is a six-stanza version (the three stanzas in D plus an additional three) in AH, where it is ascribed to E. Knyvet; see note 533. 544. habitual nature,

The Devonshire Manuscript 153 I will not wink and see, I will not please thee so, I will not favor thee, I will not be thy foe, I will not be that man that so shall thee devour; I will not, though I can, I will not show my power. But I am he that will see still, as I have seen, thy goodness from thy ill. Mine eyes shall still be clear from motes545 of blinded546 love, which moveth547 men sometime to trust ere they do prove,548 and fall when they would climb.

93.549

Mine unhappy chance, to whom shall I plain? For where as I love, no grace do I find, displeasure I have, with woe and pain, tormented I am, I wot not where to wind.550 Shall it be my fortune thus to be assigned that whereas I would be fainest beloved,551 to be with disdain cruelly rewarded?

545. an irritating particle of dust or grit (particularly in the eye) 546. The AH version has “blinding.” 547. A suggestion by Muir, 274. D appears to have “mowthy.” 548. Proverbial: Tilley, T595; ODEP, 263 (“first try and then trust”). 549. Poem 93: hand 7. 550. I do not know how to proceed. 551. I am most desirous to be beloved,

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154 The Devonshire Manuscript Oft have I showèd my loving heart with words unfeigned and eke552 by letter, by message also sent on my part, and all to cause her love the greater. But yet of naught I am the better, for the more I show to be beloved the more with disdain I am rewarded. My truth, nor yet my loving cheer, my hearty mind and steadfastness, my woeful life which I have here, with all my painful heaviness, cannot her cause for to redress553 my heart, which is to her unfeigned, but with disdain to be rewarded.

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Causeles.554

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94.555

Go, burning sighs, unto the frozen heart. Go break the ice which556 piteous painful dart might never pierce. And, if mortal prayer in heaven may be heard, at least I desire that death or mercy be end of my smart. Take with you pain whereof I have my part,

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552. also 553. set right, repair 554. Muir, 282, suggests this may be a name, C. Lanseles, but acknowledges that the word may be “Causeless.” The latter, as a nickname or sobriquet, seems to me to be more likely. 555. Poem 94: hand 7. By Wyatt. Also in E and Tottel. The poem adapts Petrarch, Rime 153; see M&T, 282. 556. D has “with.”

The Devonshire Manuscript 155 and eke557 the flame from which I cannot start,558 and leave me then in rest, I you require. Go, burning sighs. I must go work, I see, by craft and art, for truth and faith in her is laid apart. Alas, I cannot therefore assail her with pitiful plaint and scalding fire that out of my breast doth strainably559 start. Go, burning sighs.

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95.560

Fancy framed my heart first to bear goodwill and seek the same; I sought the best and found the worst, yet fancy was no deal to blame, for fancy hath a double name, and as her name so is her kind:561 fancy a foe and fancy a friend. Fancy followèd all my desire to like whereas I had best lust.562 What could I more of her require than for that thing563 which needs I must, and forceth me still for to be just?564

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557. also 558. move away, 559. violently 560. Poem 95: MD’s hand. Part of the first stanza is copied below (poem 95a) in hand 12. MD’s spelling in the first stanza of 95 has been corrected by an unknown hand. 561. nature: 562. most desire. 563. (1) object (2) genitals 564. Perhaps: and forces me to give her (Fancy) credit (for obtaining what I desired)?

156 The Devonshire Manuscript In this she showèd her self my friend, to make me lord of mine own mind.565 This feigned fancy at the last hath causèd me for to beware of windy words and babbling blast which hath oft times cast me in snare and brought me from my joy to care. Wherefore I make this promise now: to break my fancy and not to bow.566

95a.567

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Fancy framed my heart first to bear goodwill and seek the same, I sought the best and found the worst, yet fancy

96.569

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gioye568

In places where that I company570 [62v] I go saying I live full merrily, yet oft times to cloak my care and pain I make my countenance to be glad and fain571

565. to make me lord of what I desired. 566. Compare poem 105 whose first stanza concludes with lines 20 and 21 of this poem. 567. Poem 95a: hand 12. A fragmentary copy of poem 95. 568. An annotation perhaps by someone trying to help MD with the spelling of “joy” in poem 95, line 19. MD made two attempts at spelling the word (“y yoy”). 569. Poem 96: hand 7. 570. where I am with companions 571. The flexibility of sixteenth-century spelling makes the meaning of this word ambiguous: either “fain,” meaning willing, or “feign,” meaning pretend.

The Devonshire Manuscript 157 when that my heart weepeth and sigheth full bitterly.

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I speak by that and mean by this.572

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97.573

If that I could in verses close574 thoughts that in my heart be shut, heart so hard was never yet that would not pity, I suppose. Unhappy eyes, my joy I lose by strokes of love, through you so fret, that no defense can make withset,575 for naught but sorrow I can choose since that your sight so bright did show within my heart by fiery gleams, as in a glass the sunny streams. Suffice thee then, for, as I trow, of right he may desire death that findeth his foe by friendly faith.576

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E K577

572. This line appears not to be part of the poem; it may be the first line of another poem or simply a comment on the previous one. 573. Poem 97: hand 7. 574. set or enclose 575. Lines 5–7: Unhappy eyes, my joys are lost through the force of love which, coming to me through you, is so consuming (“so fret”) that no defense can withstand it, 576. Lines 12–14: Enough! For I suppose (“trow”) that he who finds hostility in return for loving faithfulness may justly desire to die. 577. Probably E[dmund] K[nyvet]; see note 533.

158 The Devonshire Manuscript 98.578

Blame not my lute for he must sound of this or that as liketh me, for lack of wit the lute is bound to give such tunes as pleaseth me. Though my songs be somewhat strange and speaks such words as touch thy change, blame not my lute. My lute, alas, doth not offend though that perforce he must agree to sound such tunes as I intend to sing to them that heareth me. Then, though my songs be somewhat plain and toucheth some that use to feign, blame not my lute. My lute and strings may not deny, but as I strike they must obey. Break not them then so wrongfully, but wreak thyself579 some wiser way; and though the songs which I indite580 do quit581 thy change with rightful spite, blame not my lute. W582 Spite asketh spite and changing change, and falsèd faith must needs be known; the faults so great, the case so strange, of right it must abroad be blown.

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578. Poem 98: hand 1. Probably by Wyatt ; see note 582. The first line is listed among a collection of English songs copied in the 1550s into BL, MS Sloane 3501, and is found in a lute book of the 1590s, Folger, MS V.a.159. A moralizing parody of this poem is printed in John Hall, The Court of Virtue (1565), ed. Russell A. Fraser (London: Routledge, 1961), 164–69. 579. give vent to your anger 580. compose 581. pay back. D has “to” instead of “do.” 582. “W” (added apparently by another hand) is inserted in the margin. It probably refers to Wyatt.

The Devonshire Manuscript 159 Then since that by thine own desert my songs do tell how true thou art, blame not my lute. Blame but thy self that hast misdone and well deservèd to have blame. Change thou thy way so evil begun and then my lute shall sound that same. But if till then my fingers play by thy desert the wonted583 way, blame not my lute. Farewell, unknown, for though thou break my strings in spite with great disdain, yet have I found out for thy sake strings for to string my lute again. And if perchance this foolish rhyme do make thee blush at any time, blame not my lute.

99.584

My heart is set not to remove, for where as I love faithfully I know he will not slack his love nor never change his fantasy.585 I have delight him for to please in all that toucheth honesty, who feeleth grief so it him ease pleaseth doth well my fantasy.

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583. accustomed 584. Poem 99: MD’s hand. MD also copied a four-stanza version (poem 86). The poem is in a woman’s voice. 585.(1) inclination or liking. (2) fancy or whimsical desires.

160 The Devonshire Manuscript And though that I be banished him fro,586 his speech, his sight, and company, yet will I, in spite of his foe, him love and keep my fantasy.

100.587

I am not she by proof of sight can make a joy of all my woe,588 nor in such things I do delight, but as they be so most they show. Mine own mishap hath happed589 so right, thus of my friend to make my foe, that though I would, yet lack I might590 to cloak my grief where it doth grow.

The sudden591 101.592

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Might I as well within my song belay593 the thing I mean as in my heart I may, repentance should draw from these eyes salt tears, with cries, remorse, and grudges.594

586. from, 587. Poem 100: MSh’s hand. 588. Lines 1–2: I am not the kind of woman who can put on an appearance of joy to hide my woe. D has “yogy” where I have suggested “joy”; it is a word the women seem to have found hard to spell; see note 568. Muir, 282, suggests the word intended may be “joke.” 589. chanced 590. in spite of wishing to do so, I lack the power 591. MD has begun writing “The sudden” (see poem 105) but crossed it out. 592. Poem 101: MD’s hand. Also in B (where it is a five-stanza poem). The first two lines have been carelessly copied by hand 7 and then smudged out. They face MD’s version on the opposite page (poem 103). Baron, 330, suggests MD is here correcting that version. 593. enclose 594. B’s version of this line reads “Salt tears, with cries, remorse, and grudge of heart.”

The Devonshire Manuscript 161 102.595

To counterfeit a merry mode in mourning mind I think it best, for once in rain I wore an hood— well they were wet that bare head stood.596 But since that cloaks be good for doubt,597 the beggars’ proverb find I good: better a patch than a hole out.598

103.600

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rhyme doggerel—how many mile to Michaelmas?599

Might I as well within my song belay the thing I would as in my heart

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595. Poem 102: MSh’s hand. The poem appears to be a response to poem 100. 596. those without hoods were well soaked. 597. cloaks cloak or hide the truth, 598. This reading is suggested by the editor of ODEP, 49, as a way of making sense of MSh’s spellings: “Betar a path than a halle owte.” The proverb referred to would thus be “Better a clout than a hole out” (Tilley, C447). Its meaning seems to be: better cover over a grief than leave it exposed. 599. The comment is in MSh’s hand. The proverb “a mile to midsummer” means “to be somewhat mad” (ODEP, 531), and it may be that MSh’s proverb has a similar meaning or is simply a nonsense phrase. 600. Poem 103: hand 7 (see comment in Table of Hands).This is a version, subsequently smudged out, of the first two lines of poem 101; see note 592.

162 The Devonshire Manuscript fortuna nunquam perpetuo est bona601 104.602

The pleasant beauty of sweet delight doth blind our eyes with charming lizard’s603 glistering show, and present joy so ravisheth our mind that oft we do embrace our lurking foe. But whereas604 wisdom, chiefest judge, doth reign, 5 there wit avoids all danger breeding pain. mentire non est meum605 Deceit Deserveth Death

[66v and 67r are blank.]

am el mem anem e as I have dese

[67v]

I am yours an606

601. This motto, poem 104, and the motto that follows it, are all in hand 13 (the only appearance of this hand in D). This motto means: A gift of fortune never lasts. The saying, which was a commonplace, derives from the Roman playwright Terence (Hecyra, Act 3, sc. 3): “O fortuna, ut nunquam perpetuo es bona!” 602. The word “doute” (doubt) has been written vertically on this folio by MD. Hand 13 has then copied poem 103 over it. 603. D has “lewsardes,” which I suggest may be lizard’s. Pliny is cited as the authority for the information that the lizard “be a fayre beast, and faire painted, yet he is right venomous,” in Stephen Batman, Batman uppon Bartholome (London: Thomas East, 1582), bk.18, chap. 94. 604. where 605. I do not lie 606. Scribbled phrases in the hand of TH2. The writer may be practicing handwriting using clichéd phrases such as “as I have deserved” (compare poem 114, line 41) and “I am yours and…” (compare poem 24, line 6, or poem 44, line 12); see Harrier, 32. For the view that this fragment is a “riddle,” see Southall, Courtly Maker, 18.

The Devonshire Manuscript 163 105.607

The sudden glance608 did make me muse609 of him that so late was my friend; so strangely now they do me use that I well spy his wavering mind. Wherefore I make a promise now to break my fancy and not to bow.

5

What could he say more than he did?610 Or what appearance more could he show always to put me out of dread?

hap have bidden my hap a-wanting611

Madame612 [68r] Madame d

607. Poem 105: MD’s hand. The poem appears to be incomplete. MD began copying the poem earlier but crossed it out; see note 591 above. Lines 5 and 6 of this poem repeat lines 20 and 21 of poem 95. Muir, 275, suggests the two poems are related, but poem 95 has a seven-line stanza, and poem 105 more obviously voices a woman’s point of view. Stevenson and Davidson, Early Modern Women Poets, 9–10, print the poem as a possible composition by MD herself. 608. D has “ghance.” Both Muir, 275, and Stevenson and Davidson, Early Modern Women Poets, 9, suggest the word may be “chance.” 609. ponder 610. D has “ded,” which preserves the rhyme with “dread” (“dred”) in line 9. 611. These lines are in MSh’s hand. Chance has ordained that I will have no luck. (Perhaps a comment on the verses copied by MD immediately above.) 612. Scribbled phrases, possibly in hand 7; see comment in Table of Hands. The writer has inserted, in French, versions of the names of MD and Mary Fitzroy, Duchess of Richmond, with a concluding nostalgic comment. The comment is likely to have been written sometime after the death of the Duke of Richmond in July 1536 and no doubt refers to Mary Fitzroy’s widowhood and consequent loss of status and position at court. There may also be an allusion to the death of MD’s betrothed, Lord Thomas Howard; see my Introduction, 17.

164 The Devonshire Manuscript

106.615

Madame Margaret et Madame de Richemont613 Je voudrais bien qu’il fût.614

My youthful days are past, my pleasant years are gone, my life it doth but waste, my grave and I am one, my mirth and all is fled, and I am one in woe616 desire to be dead my mischief to forgo.

5

I burn and am a-cold, I freeze amidst the fire, 10 I see they do withhold that most I do desire. I see my help at hand, I see my death also, I see where they doth617 stand, 15 I see my friendly foe.

613. Richmond 614. I dearly wish that it were. 615. Poem 106: MSh’s hand. Also in Tottel and in Thomas Proctor, A Gorgious Gallery of Gallant Inventions (1578). In MSh’s spelling, the word “the” appears throughout where the versions of Tottel and Proctor have the pronoun “she.” “The,” in MSh’s version, seems to mean “they” for most of the poem, but “thee” in the last line. The use of “they” or “thee” renders the gender of the speaker of the poem ambiguous (and potentially female), unlike the clearly male speaker of the other two extant versions. For a discussion of this poem, see my Introduction, 16–17. 616. Both the Tottel and Proctor versions have “And I a man in wo.” 617. The mismatch of subject and verb here suggests MSh may have deliberately altered the singular “she” (used in other versions of the poem) to permit a female speaker and point of view.

The Devonshire Manuscript 165 I see they know my heart, and how I cannot feign. I see they see me smart, and how I live in pain. I see how they doth see and yet they will be blind. I see in helping me, they see and will not find.

[68v]

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I see how they do wry618 25 when I begin to moan. I see when I come by how fain619 they would be gone. I see—what would you more?— they would me gladly kill; 30 and you shall see, therefore, that they shall have their will. I can not live with stones, it is too hard a food. I will be dead at once if it might do them good. They shall have their request, and I must have mine end. Lo, here my bloody breast to please thee with unkind. m

[Eight blank unnumbered leaves, one torn and repaired.]

618. turn aside 619. gladly

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166 The Devonshire Manuscript 107.620

To cause accord or to agree [69r] two contraries in one degree and in one point, as seemeth me, to all mens’ wit it cannot be; it is impossible. 5 Of heat and cold when I complain and say that heat doth cause my pain when cold doth shake my621 every vein, and both at once, I say again it is impossible. 10 That man that hath his heart away, if life live there, as men doth say, that [he] heartless should last one day alive and not to turn to clay, it is impossible.622 15 ’Twixt life and death, say what who sayeth, there liveth no life that draweth breath, they join so near; and eke,623 i’faith, to seek for life by wish of death, it is impossible. 20 Yet love, that all thing doth subdue, whose power there may no life eschew,624 hath wrought in me, that I may rue,625

620. Poem 107: hand 8. By Wyatt. Also in E. Harrier, 52–53, argues that with this poem, this copyist begins a “group” of poems that continue until poem 143, which can be confidently ascribed to Wyatt. Many of them are ascribed to Wyatt in E (the poet’s own manuscript). 621. D has “me.” 622. Lines 13–15: it is impossible that a man without a heart would last one day without dying. 623. also, 624. Lines 21–22: love, that overwhelms all things and can be avoided by no one, 625. to my regret,

The Devonshire Manuscript 167 these miracles to be so true that are impossible. 25 finis

108.626

All in thy sight my life doth whole depend; thou hidest thyself and I must die therefore. But since thou mayst so easily save thy friend, why dost thou stick to heal that thou madest sore? Why do I die since thou mayst me defend? 5 For if I die then mayst thou live no more since t’one by t’other doth live and feed thy heart: I with thy sight, thou627 also with my smart. finis



am628

626. Poem 108: hand 8. Probably by Wyatt; see note 620. Also in Tottel. The poem is based on a strambotto, “Vivo sol di mirarti hai dura impresa,” by Serafino Aquilano, a late-fifteenth-century Italian poet; see M&T, 421. 627. D has “then.” Tottel has “thou,” which makes better sense. 628. A hand is drawn under poem 108, probably to fill up space at the bottom of the leaf, and the letters “am,” probably by hand 8, are written in the right margin.

168 The Devonshire Manuscript 109.629

Behold, Love, thy power how she despiseth, [69v] my great grief how little she regardeth, thy holy oath, whereof she takes no cure, broken she hath, and yet she bideth sure. Behold, Love. 5 Right at her ease, and little she dreadeth. Thou hast weapon, unarmèd she sitteth. To thee disdainful her life she leadeth, to me despiteful, without cause or measure. Behold, Love. 10 I am in hold.630 If pity thee moveth, go bend thy bow,631 that stony hearts632 breaketh, and with some stroke, revenge the displeasure of thee and him that sorrows doth endure and, as his lord, thee lowly entreateth. 15 Behold, Love. finis

110.633

Thou hast no faith of him that eke634 hath none, but thou must love him needs by good reason, for, as the proverb sayeth right notable, every thing seeketh his semblable,635

629. Poem 109: hand 8. By Wyatt. Also in E and Tottel. The poem derives from Petrarch, Rime 121; see M&T, 263. In E its form is that of a rondeau (e.g., poem 110), while Tottel’s version takes the form of a sonnet. The D version transforms it into a stanzaic song with a refrain. 630. imprisoned. 631. Cupid (Love) was traditionally armed with a bow and arrows. 632. D has “hartes,” a word of probably two syllables. 633. Poem 110: hand 8. By Wyatt. Also in E. 634. also 635. For the proverb (“like to like”), see Tilley, L286, and ODEP, 465.

The Devonshire Manuscript 169

111.638

and thou hast thine of thy own condition. Yet is it not the thing I pass upon,636 neither hot nor cold is my affection, for since thy heart is thus so mutable, thou hast no faith.

5

I deemed thee true without exception, but I perceive I lacked discretion to fasten faith to words so doubtable.637 Thy thought is too light and variable to change so oft without occasion. Thou hast no faith.

10

They flee from me that sometime did me seek with naked foot stalking in my chamber. I have seen them both gentle, tame, and meek, that now are wild and do not remember that sometime they put themself in danger to take bread at my hand, and now they range busily seeking continual change.

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Thanked be fortune it hath been otherwise, twenty times better, but once in special, in thin array, after a pleasant guise, 10 when her loose gown from her shoulders did fall and she me caught in her arms long and small, but therewithal sweetly she did me kiss and softly said, “Dear heart, how like you this?”639 It was no dream for I lay broad waking, but all is turned through my gentleness 636. this is not the thing that concerns me, 637. uncertain. 638. Poem 111: hand 8. By Wyatt. Also in E and Tottel. 639. The quotation marks are editorial additions.

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[70r]

170 The Devonshire Manuscript into a strange fashion of forsaking, and I have leave to part, of her goodness, and she likewise, to use newfangledness.640 But since that I so gently641 am served what think you by this that she hath deserved?

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112.642

Caesar, when the traitor of Egypt, with the honorable head did him present,643 covering his gladness, did represent plaint with his tears outward, as it is writ. And Hannibal644 eke,645 when fortune did flit 5 from him and to Rome did her wheel relent,646 did laugh among them whom647 tears had besprent,648 her cruel despite inwardly to shut.649 So chanceth it oft that every passion the mind hideth by color contrary,650 10 with feignèd visage, now sad, now merry.

640. pointless novelty. 641. (1) courteously (2) tenderly. (In both cases the adjective is ironic.) 642. Poem 112: hand 8. By Wyatt. Also in E and Tottel. A translation of Petrarch, Rime 102; see M&T, 264. 643. King Ptolemy of Egypt had Pompey the Great assassinated when he sought refuge from Julius Caesar, but Caesar is said to have wept when presented with his severed head. This was a commonplace example in contemporary verse; see Rollins, Tottel’s Miscellany, 2: 165. 644. The Carthaginian general Hannibal was said to have laughed, while his fellow citizens wept, when the defeated city of Carthage had to pay punitive taxes to Rome. 645. also, 646. (Fortune) abated her rigor towards Rome. Fortune was traditionally represented with a wheel that she continually turned, thus controlling the fortunes of men and states. 647. D has “when,” clearly an error. 648. besprinkled, 649. to hide his disappointment at Fortune’s spite. 650. contrary show,

The Devonshire Manuscript 171 Whereby if I laugh at any season, it is because I have none other way to cloak my care but under sport and play.

113.651

finis

If chance assigned were to my mind by very kind of destiny,652 yet would I crave naught else to have but only life and liberty.

[70v]

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Then were I sure I might endure 10 the displeasure of cruelty, where now I plain, alas, in vain, lacking my life for liberty. 15 For without t’one t’other is gone, and there can none it remedy; if t’one be past 20 t’other doth waste, and all for lack of liberty.

651. Poem 113: hand 8. By Wyatt. Also in E and B (5 lines only). 652. Lines 1–4: If it were in the nature (“kind”) of destiny (or, if destiny were kind enough) to give me everything I wished,

172 The Devonshire Manuscript And so I drive653 as yet alive although I strive 25 with misery, drawing my breath, looking for death, and loss of life for liberty. But thou that still 30 mayst at thy will turn all this ill adversity, for the repair of my welfare, 35 grant me but life and liberty. And if not so, then let all go to wretched woe and let me die. 40 For t’one or t’other, there is none other: my death or life with liberty. finis

653. move onward

The Devonshire Manuscript 173 114.654 Perdie,655 I said it not and this656 nor never thought to do, as well as I ye wot657 I have no power thereto; and if I did, the lot658 5 that first did me enchain, do never slack the knot but straiter659 to my pain. And if I did, each thing that may do harm or woe continually may wring my heart whereso I go. Report may always ring of shame of me for aye if in my heart did spring the word that ye do say. If I said so, each star that is in heaven above may frown on me to mar the hope I have in love. And if I did, such war as they brought out of Troy660 bring all my life afar from all this lust and joy.

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654. Poem 114: hand 8. Probably by Wyatt; see note 620. Also in B and Tottel. The first line, accompanied by music for the lute, is in Yale University, MS Osborn music 13 (ca.1553). Based on Petrarch, Rime 206; see M&T, 406–7. 655. Indeed, 656. Annotation by MD. 657. you know as well as I do 658. fortune, fate 659. (make it) tighter 660. An allusion to the ten-year war between the Greeks and Trojans narrated in Homer’s Iliad.

174 The Devonshire Manuscript And if I did so say, the beauty that me bound increase from day to day more cruel to my wound; with all the moan that may, to plaint may turn my song, my life may soon decay, without redress, by wrong. If I be clear from661 thought why do ye then complain? Then is this thing but sought to turn me to more pain. Then that that ye have wrought ye must it now redress; of right, therefore, ye ought such rigor to repress. And as I have deservèd so grant me now my hire. Ye know I never swervèd, ye never found me liar. For Rachel662 have I servèd, for Leah cared I never, and her I have reservèd within my heart forever. finis

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661. D has “for,” but this seems to be an error. The meaning is: if I be free from thought (of ever saying such a thing) 662. Genesis 29 tells the story of Jacob who served Laban seven years to gain his daughter Rachel as a wife, but was then tricked into taking the elder sister, Leah.

The Devonshire Manuscript 175 115.663 Patience, though I had not the etc. To her that said this patience was not for her, but that the contrary of mine was most meetest664 for her purpose. [Lover] Patience for my device, impatience for your part, of contrary the guise must needs be overthwart.665 Patience for I am true, the contrary for you. [Lady]

Patience, a good cause why! Yours hath no cause at all. Trust me, that stands awry perchance may sometime fall. Patience, they say, and sup a taste of patience’ cup.

[Lover] Patience, no force for that,666 yet brush your gown again.667 Patience, spurn not thereat, lest folks perceive your pain. Patience at my pleasure, when yours668 hath no measure

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663. Poem 115: hand 8. The annotation at the head of the poem is also in hand 8. The note seems to introduce poem 115 as a response to a woman’s response to “Patience, though I have not,” which appears in full in D as poem 18. By Wyatt. Also in E, B, and AH (lines 1–8 only). In all three manuscripts this poem appears in sequence after “Patience, though I have not.” Some editors have suggested poem 115 should be read as a dialogue between the patient lover and the impatient lady (e.g., Rebholz, 389), and I have followed this suggestion. For other poems on the theme of patience in D, and their possible source, see note 102. 664. most suitable 665. Lines 3–4: the manner of what is contrary is always to be the opposite. 666. it can’t be helped, 667. spruce yourself up again (i.e., put on a brave face). 668. Lines 17–18: “yours” may refer either to “Patience” or perhaps to “pleasure” in the previous line. Thus the lines may mean: I shall enjoy being patient when your need of it is endless; or: I must enjoy being patient since you indulge your pleasures to excess.

176 The Devonshire Manuscript [Lady]

The t’other was for me,669 this patience is for you. Change when ye list, let see,670 for I have ta’en a new. Patience with a good will is easy to fulfill.

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finis

116.671

I have sought long with steadfastness to have had some ease of my great smart, but naught availeth faithfulness to grave within your stony heart.672 and this673 But hap and hit or else hit not, as uncertain as is the wind,674 right so it fareth by the shot of love, alas, that is so blind.675 Therefore I played the fool in vain with pity676 when I first began your cruel heart for to constrain since love regards no doleful man.

[71v]

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669. Impatience (or, perhaps, pleasure) was for me, 670. show us, 671. Poem 116: hand 8. By Wyatt. Also in E. 672. Lines 3–4: but faithfulness cannot be engraved within your hard heart. 673. Annotation by MD. 674. Proverbial: Tilley, W412; ODEP, 871. 675. The god of love (Cupid) was traditionally depicted blindfold and with a bow and arrows to pierce lovers’ hearts. 676. Lines 9–11: I wasted my time in trying to urge you to pity me

The Devonshire Manuscript 177 But, of your goodness, all your mind is that I should complain in vain.677 This is the favor that I find: ye list to hear how I can plain. But though I plain to ease your heart, trust me, I trust to temper it so not for to care which side revert,678 all shall be one in wealth or woe.

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For fancy rules though right say nay, even as the goodman kissed his cow;679 none other reason can ye lay but as who sayeth “I reck680 not how.” finis

117.681

Nature, that gave the bee so feat682 a grace to get honey of so wondrous fashion, hath taught the spider, out of the same place,683 to fetch poisons by strange alteration. Though this be strange, it is a stranger case with one kiss, by secret operation,

5

677. Lines 13–14: But your graciousness to me is such that your only intention is that I should complain without reward. (The speaker is being ironic.) 678. That is, whether you show love or hate. 679. Proverbial: Tilley, M103; ODEP, 228 (“every man as he loves, quoth the good man, when he kissed his cow”). 680. care 681. Poem 117: hand 8. By Wyatt. Also in E, B, Tottel, and BL, MS Harley 78 (mid-sixteenth century). 682. dexterous 683. It was a common belief that the spider sucked poison out of flowers (Rebholz, 375).

178 The Devonshire Manuscript both these at once in those your lips to find, in change whereof I leave my heart behind. finis

118.684

To wish and want and not obtain, to seek and sue ease of my pain, since all that ever I do is vain, what may it avail me?685 Although I strive both day and night against the stream with all my power, if fortune list yet for to lour,686 what may it avail me? If willingly I suffer woe, if from the fire me list not go, if then I burn, to plain me so what may it avail me? And if the harm that I suffer be run too far out of measure, to seek for help any further what may it avail me? What though each heart that hears me plain pities and plaineth for my pain, if I no less in grief remain what may it avail me? Yea, though the want of my relief displease the causer of my grief,

684. Poem 118: hand 8. By Wyatt. Also in E and AH (lines 11–36 only). 685. what good may it do me? 686. if it still pleases fortune to frown,

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The Devonshire Manuscript 179 since I remain still in mischief what may it avail me? Such cruel chance doth so me threat continually inward to fret, then of relief for to entreat687 what may it avail me? Fortune is deaf unto my call, my torment moveth her not at all, and though she turn as doth a ball688 what may it avail me? For in despair there is no rede.689 To want of ear, speech is no speed.690 To linger still alive as dead what may it avail me?

119.691

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Once, me thought, fortune me kissed and bad me ask what I thought best, and I should have it as me list therewith to set my heart in rest. I asked naught but my dear heart to have for evermore mine own,

5

687. plead 688. One of Fortune’s attributes was her wheel, and, in emblem literature, she was often shown standing on a turning ball. 689. counsel. 690. Speech has no success where no one listens. 691. Poem 119: hand 8. By Wyatt. Also in E, Tottel, and Nugae. A longer version is copied later in D by the same hand (poem 132). The two stanzas of this copy are squeezed in at the bottom of the page.

180 The Devonshire Manuscript then at an end were my smart, then should I need no more to moan.

120.692

Resound my voice, ye woods, that heareth me plain, [72r] both hills and valleys, causers of reflection,693 and rivers eke694 record ye of my pain which hath ye oft forced by compassion, as judges, to hear my exclamation,695 5 among whom I find pity doth remain. Where I it sought, alas, there is disdain. Oft, ye rivers, to hear my woeful sound have stopped your course and, plainly to express, many a tear by moisture of the ground 10 the earth hath wept to hear my heaviness, which, causeless to suffer without redress,696 the hugey697 oaks have roarèd in the wind. Each thing me thought moving in their kind.698 Why then, alas, doth not she on me rue? Or is her heart so hard that no pity may in it sink, my joys for to renew? O tiger’s heart, who hath so cloakèd thee that art so cruel, covered with beauty?

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692. Poem 120: hand 8. By Wyatt. Also in E and Tottel. Based on a poem , “Laer che sente el mesto a gran clamore,” by Serafino Aquilano, a late-fifteenth-century Italian poet; see M&T, 283. 693. The hills and valleys are places for meditation as well as places that reflect echoes. 694. also 695. Lines 4–5: (my pain) has often forced you (the rivers), through compassion, to hear my outcries and judge them, 696. which, innocent and without redress, (both the lover and the oaks). 697. huge 698. Each thing moving (and also, being moved by compassion) according to their nature. D has “the kind,” but “their kind” (in E and Tottel) makes better sense.

The Devonshire Manuscript 181 There is no grace from thee that may proceed, but, as reward, death for to be my meed.699

121.700

finis

The fruit of all the service that I serve despair doth reap, such hapless hap have I,701 but though he have no power to make me swerve, yet by the fire for cold I feel I die, in paradise for hunger still I starve,702 5 703 and in the flood for thirst to death I dry. So Tantalus704 am I, and in worse pain, amidst my help and helpless doth remain. finis

122.706

20

and this705

Since ye delight to know that my torment and woe should still increase without release, I shall enforce me so that life and all shall go for to content your cruelness.



[72v]

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699. recompense. 700. Poem 121: hand 8. Probably by Wyatt; see note 620. 701. I have such unlucky fortune, 702. die, (D’s spelling, “sterve,” preserves the rhyme). 703. I become dry. 704. In classical mythology, Tantalus was punished by being fixed in a pool of water from which he could never drink. 705. Annotation by MD. 706. Poem 122: hand 8. By Wyatt. Also in E and B.

182 The Devonshire Manuscript And so this grievous train707 that I so long sustain shall sometime cease, 10 and have redress, and you also remain full pleased with my pain for to content your cruelness. Unless that be too light, and that ye would ye might see the distress and heaviness of one yslain708 outright, therewith to please your sight and to content your cruelness.

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Then, in your cruel mood, would God forthwith ye would with force express709 my heart oppress 25 to do your heart such good; to see [me] bathe in blood, for to content your cruelness. Then could ye ask no more, then should ye ease my sore, and the excess of my excess. And you should evermore defamèd710 be therefore, for to repent your cruelness. finis 707. delay 708. slain 709. with deliberate force, 710. dishonored

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The Devonshire Manuscript 183 123.711

Venomous thorns that are so sharp and keen sometime bear flowers fair and fresh of hue. Poison oft-times is put in medicine and to his health doth make the man renew. Fire, that all thing consumeth so clean, 5 may heal and hurt. And, if this be true, I trust sometime my harm may be my health since every woe is joined with some wealth. finis and this712

124.713

In eternum714 I was once determinèd for to have lovèd, and my mind affirmèd that with my heart it should be confirmèd in eternum. Forthwith I found the thing that I might like and sought with love to warm her heart alike, for, as me thought, I should not see the like in eternum. To trace this dance I put myself in press,715 vain hope did lead and bad I should not cease to serve, to suffer, and still to hold my peace in eternum.

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711. Poem 123: hand 8. By Wyatt. Also in E (in Wyatt’s own writing ); Tottel; Nugae; BL, MS Harley 78 (mid-sixteenth century); BL, MS Add. 36529 (ca.1560–90); and Cambridge University Library, MS Ff.5.14 (ca.1566–72). This is a translation of the poem “Ogni pungente & venenosa spina” by Serafino Aquilano, a late-fifteenth-century Italian poet; see M&T, 317. 712. Annotation by MD. It is not clear whether the annotation relates to poem 123 or 124. 713. Poem 124: hand 8. By Wyatt. Also in E (damaged text). 714. For all eternity 715. I pushed in among the crowd to follow the footsteps of this dance (of love),

184 The Devonshire Manuscript With this first rule I furthered me apace that, as methought, my truth had taken place, with full assurance, to stand in her grace716 in eternum.

15

It was not long ere I by proof had found that feeble building is on feeble ground, for in her heart this word did never sound: in eternum. 20 In eternum then from my heart I cast that I had first determined for the best; now, in the place, another thought doth rest in eternum.

finis

716. Lines 13–15: By following the rule (of ceaseless suffering), I was confident my faithfulness would gain me her favor

The Devonshire Manuscript 185 and this717 125.718

Like as the swan towards her death doth strain her voice with doleful note,719 right so sing I with waste of breath: “I die, I die, and you regard it not.”720 I shall enforce my fainting breath that all that hears this deadly721 note shall know that you doth cause my death. “I die, I die, and you regard it not.” Your unkindness hath sworn my death and changed hath my pleasant note to painful sighs that stops my breath: “I die, I die, and you regard it not.” Consumeth my life, faileth my breath, your fault is forger722 of this note, melting in tears, a cruel death. “I die, I die, and you regard it not.” My faith with me after my death buried shall be, and to this note I do bequeath my very723 breath to cry “I died and you regard it not.”

[73r]

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717. Annotation by MD. 718. Poem 125: hand 8. By Wyatt. Also in E (damaged text) and B. The poem uses the same four rhyme words throughout. 719. melody. The idea that the swan sang before its death was commonplace. 720. The quotation marks are editorial additions. 721. D has “delye,” which may be “daily.” I have, however, followed B’s “deadly.” 722. creator 723. B has “weary,” and it is possible D’s “very” is a mistake. “Very” in this context may be emphatic, meaning “my breath itself.”

186 The Devonshire Manuscript 126.724

If with complaint the pain might be expressed that inwardly doth cause me sigh and groan, your hard heart and your cruel breast should sigh and plain for my unrest, and, though it were of stone, yet should remorse cause it relent and moan. But since it is so far out of measure725 that with my words I can it not contain, my only trust my heart’s treasure.726 Alas, why do I still endure this restless smart and pain since, if ye list, ye may my woe restrain?727

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127.728

Cruel desire, my master and my foe, thyself so changed, for shame, how mayst thou see?729 That I have sought doth chase me to and fro, whom thou didst rule now ruleth thee and me. What right is to rule thy subjects so 5 and to be ruled by mutability?

724. Poem 126: hand 8. Probably by Wyatt; see note 620 725. There is a pun on the word “measure”: the lover’s pain is out of tune (OED, s.v. “measure,” III. 14) as well as beyond bounds. 726. Perhaps: my only hope is in you, my heart’s treasure. 727. you may check my woe? 728. Poem 127: hand 8. By Wyatt. Also in E (in Wyatt’s own hand) and Tottel. In both these versions, the poem begins “Desire, alas, my master and my foe.” 729. The poem personifies desire as Cupid, the god of love, who has been changed by the poet’s beloved from vanquisher to vanquished.

The Devonshire Manuscript 187 Lo, where by thee I doubted to have blame, even now, by dread, again I doubt the same.730 finis

128.731

She sat and sewed that hath done me the wrong whereof I plain and have done many a day, and while she heard my plaint in piteous song, wishèd my heart the sampler as it lay. The blind master732 whom I have served so long, 5 grudging to hear that he did hear her say, with her own weapon did make her finger bleed to feel if pricking733 were so good in deed. finis

129.734

Who hath heard of such tyranny before, that, when my plaint rememb’red her my woe that causèd it, she, cruel more and more, wishèd each stitch, as she did sit and sew, had prickèd my heart for to increase my sore?735 5 And, as I think, she thought it had been so,

730. Lines 7–8: where I (formerly) feared to be blamed for my desire, now I fear to be blamed for shameful subjection. 731. Poem 128: hand 8. By Wyatt. Also in E, AH, and Tottel. 732. Cupid, the god of love, was traditionally depicted blindfold. 733. The word probably already had its slang connotation of sexual intercourse. 734. Poem 129: hand 8. By Wyatt. Also in E (with corrections in Wyatt’s own hand), AH, and Tottel (where it begins “What man hath”). 735. wound or suffering?

188 The Devonshire Manuscript for, as she thought “this is his heart indeed,”736 she prickèd737 her and made herself to bleed.

130.738

finis

Ye know my heart, my lady dear, [73v] that since the time I was your thrall I have been yours both whole and clear, though my reward hath been but small. So am I yet, and more than all. 5 And ye know well how I have served as, if ye prove,739 it shall appear: how well, how long, how faithfully, and suffered wrong 10 how patiently. Then, since that I have never swerved, let not my pains be undeserved. Ye know, also, though ye say nay, that you alone are my desire, and you alone it is that may assuage740 my fervent flaming fire. Succor me then, I you require. Ye know it were a just request, since ye do cause my heat, I say, if that I burn that ye will warm and not to turn all to my harm,

736. The quotation marks are editorial additions. 737. See note 733. 738. Poem 130: hand 8. By Wyatt. Also in E (missing lines 1–14). 739. if you establish the truth, 740. mitigate

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The Devonshire Manuscript 189 sending such flame from frozen breast, against nature, for my unrest.

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And I know well how scornfully ye have mista’en my true intent, and hitherto how wrongfully741 I have found cause for to repent. 30 But if your heart doth not relent, since I do know that this ye know, ye shall slay me all willfully; for me and mine and all I have 35 ye may assign to spill or save. Why are ye then so cruel foe unto your own that loves you so? finis

and this742 131.743

Since you will needs that I shall sing, take it in worth such as I have:744 plenty of plaint, moan, and mourning, in deep despair and deadly745 pain, bootless for boot,746 crying to crave, to crave in vain.

741. undeservedly 742. Annotation by MD. 743. Poem 131: hand 8. Probably by Wyatt; see note 620. 744. be content with the kind of song I sing: 745. D has “delye,” but see note 721. 746. hopeless of remedy,

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190 The Devonshire Manuscript Such hammers work within my head747 that sound naught else unto my ears but fast at board,748 and wake abed; such tune they temper749 to my song to wail my wrong, that I want tears to wail my wrong. Death and despair afore my face, my days decays, my grief doth grow. The cause thereof is in this place, whom cruelty doth still constrain for to rejoice, though it be woe to hear me plain.750 A broken lute, untunèd strings, with such a song may well bear part,751 that neither pleaseth him that sings nor them that hear, but her alone that with her heart would strain752 my heart to hear it groan. If it grieve you to hear this same that you do feel but in my voice,753 consider then what pleasant game754 I do sustain in every part

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747. His beating headache sympathetically keeps time with his complaints (see line 10). Perhaps an allusion to the legend that the mathematician Pythagoras discovered the basis of musical scales by listening to a smith hammering an anvil. 748. fasting at table, 749. (1) bring to a pitch (in music) (2) toughen (as steel; drawing on the hammer/smithy metaphor). 750. Lines 15–18: The causer of my woe is present here, and she is so cruel as to take pleasure in my song although it is all about my woe. 751. A musical “part” is the line of music played by a particular instrument. 752. (1) bind fast (2) tighten up (referring to the strings of an instrument). 753. that you feel only through my voice (song), 754. what pleasure (used ironically)

The Devonshire Manuscript 191 to cause me sing or to rejoice within my heart. 30 finis

132.755

Once, me thought, fortune me kissed and bad me ask what I thought best, and I should have it as me list therewith to set my heart in rest. I asked naught but my dear heart to have for evermore my own, then at an end were all my smart, then should I need no more to moan. Yet for all that, a stormy blast hath overturned this goodly day, and fortune seemèd at the last that to her promise she said nay. But like as one out of despair to sudden hope revivèd I, now fortune showeth herself so fair that I content me wondrously. My most desire my hand may reach, my will is alway at my hand, me need not long for to beseech her that hath power me to command.

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What earthly thing more can I crave? What would I wish more at my will? 755. Poem 132: hand 8. By Wyatt. Also in E, Tottel, and Nugae. The first eight lines also appear as poem 119, copied by the same hand.

192 The Devonshire Manuscript Nothing on earth more would I have, save, that I have, to have it still. For fortune hath kept her promise in granting me my most desire, of my sufferance756 I have redress, and I content me with my hire.

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finis

133.757

Comfort thyself, my woeful heart, or shortly on thyself thee wreak,758 for length redoubleth deadly smart. Why sighs thou, heart, and will not break? To waste in sighs were piteous death. Alas, I find thee faint and weak. Enforce thyself759 to lose thy breath. Why sighs thou, heart, and will not break? Thou knowest right well that no redress is thus to pine; and for to speak, perdie,760 it is remediless.761 Why sighs thou then and will not break? It is too late for to refuse the yoke when it is on thy neck;

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756. suffering 757. Poem 133: hand 8. By Wyatt. Also in E. A similar poem with the same refrain is in B; see M&T, 137 and 317. 758. vent your anger, 759. Strive 760. by God, 761. without remedy.

The Devonshire Manuscript 193 to shake it off vaileth not to muse.762 Why sighs thou then and will not break? To sob and sigh it were but vain since there is none that doth it reck.763 Alas, thou dost prolong thy pain. Why sighs thou then and will not break? Then, in her sight, to move her heart, seek on thyself, thyself to wreak that she may know thou suffered smart. Sigh there thy last, and therewith break.

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finis

134.764

What death is worse than this? When my delight, my worldly joy and bliss, is from my sight both day and night, my life, alas, I miss.

5

For though I seem alive, my heart is hence. Thus, bootless765 for to strive, out of presence 10 of my defense,766 towards my death I drive. 762. its no use pondering how to rid yourself of it. 763. cares about it. 764. Poem 134: hand 8. By Wyatt. There is another version of this poem in D (poem 58). Also in E. 765. useless 766. what keeps me alive (i.e., her presence),

194 The Devonshire Manuscript Heartless, alas, what man may long endure? Alas, how live I then?767 15 Since no recure768 may me assure, my life I may well ban.769 Thus doth my torment grow in deadly dread. 20 Alas, who might live so, alive as dead, a life to lead, a deadly life in woe? finis

135.770

I am not dead although I had a fall, the sun returns that was under the cloud,771 and when fortune hath spit out all her gall I trust good luck to me shall be allowed. For I have seen a ship into haven fall 5 after the storm hath broke both mast and shroud;

767. D’s spelling, “than,” preserves the rhyme. 768. remedy, recovery 769. curse. 770. Poem 135: hand 8. By Wyatt. Also in E (corrected by Wyatt), BL, MS Add. 36529 (ca.1560–90), Tottel, and Nugae. In E, Wyatt has changed the opening from “I am not dead although I had a fall” to “He is not dead that sometime hath a fall.” The poem is a translation of “Sio son caduto interra inon son morto,” by Serafino Aquilano, a late-fifteenth-century Italian poet; see M&T, 311. 771. Proverbial: Tilley, C442; ODEP, 6.

The Devonshire Manuscript 195 and eke772 the willow, that stoopeth with the wind, doth rise again and greater wood doth bind.773 finis

136.774

My hope, alas, hath me abusèd and vain rejoicing hath me fed, lust and joy have me refusèd775 and careful plaint is in their stead. Too much advancing slacked my speed, mirth hath causèd my heaviness, and I remain all comfortless. Whereto did I assure my thought without displeasure steadfastly?776 In fortune’s forge my joy was wrought and is revolted readily.777 I am mistaken wondrously for I thought naught but faithfulness,778 yet I remain all comfortless. In gladsome cheer I did delight till that delight did cause me smart, and all was wrong where I thought right: for right it was that my true heart should not for779 truth be set apart,780

[74v]

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772. also 773. Proverbial: Tilley, W404; ODEP, 891 (“willows are weak but they bind other wood”). 774. Poem 136: hand 8. By Wyatt. Also in E and AH. 775. have shunned me 776. Lines 8–9: Why was I confident that my happiness would be constant? 777. it has turned quickly or easily. 778. I expected nothing but faithfulness, 779. E has “from.” 780. dismissed,

196 The Devonshire Manuscript since truth did cause my hardiness.781 Yet I remain all comfortless. Sometime delight did tune my song and led my heart full pleasantly, and to myself I said among:782 “my hap is coming hastily.” But it hath happed783 contrary; assurance causeth my distress, and I remain all comfortless. Then if my note784 now doth vary and leave his wonted785 pleasantness, the heavy burden786 that I carry hath altered all my joyfulness. No pleasure hath still steadfastness, but haste hath hurt my happiness, and I remain all comfortless.

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781. boldness. (Compare line 34 which suggests the lover’s downfall may be due to his being overbold.) 782. all the while: (The quotation marks in line 25 are editorial additions.) 783. chanced 784. song 785. accustomed 786. (1) load of sorrow (2) refrain of a song

The Devonshire Manuscript 197 137.787

Me list788 no more to sing of love nor of such thing, how sore that it me wring, for what I sung or spake men did my songs mistake.

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My songs were too diffuse,789 they made folk to muse; therefore, me to excuse, they shall be sung more plain, neither of joy nor pain.

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What vaileth790 then to sip791 at fruit over the lip [ … ]792 For fruit withouten taste793 doth naught but rot and waste.

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What vaileth under key to keep treasure alway that never shall see day? If it be not usèd it is but abusèd. 20

787. Poem 137: hand 8. Probably by Wyatt; see note 620. The frankness the poem coyly claims to use alludes to the repeated “carpe diem” or “carpe florem” conceits of stanzas 3 through 8 in which the lover argues, through familiar metaphors, that, like uneaten fruit, fading flowers, unused treasure, etc., the lady’s virginity should be used and not wasted (compare Ovid, Amores 1.8). 788. I wish 789. confused, obscure, 790. use is it 791. D has “skip.” Rebholz, 431, suggests that the word should be “sip.” The conceit seems to imply that the fruit is wasted because it is not eaten correctly. 792. A line (probably the third) appears to be missing from this stanza. 793. untasted

198 The Devonshire Manuscript What vaileth the flower to stand still and wither? If no man it savor it serves only for sight and fadeth towards night.

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Therefore, fear not t’assay794 to gather, ye that may, the flower that this day is fresher then the next. Mark well, I say, this text.

30

Let not the fruit be lost that is desirèd most. Delight shall quit the cost if it be ta’en in time; small labor is to climb.

35

And as for such treasure that maketh thee the richer and no deal the poorer when it is given or lent, me thinks it were well spent.

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If this be under mist and not well plainly wist,795 understand me who list; for I reck796 not a bean,797 I wot798 what I do mean.

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finis 794. try 795. known, 796. care 797. Proverbial: Tilley, B118 (compare ODEP, 102). 798. know

The Devonshire Manuscript 199 138.799

Now farewell, Love, and thy laws forever, thy baited hooks shall tangle me no more. Too sore a proof hath called me from thy lore to surer wealth my wits to endeavor.800 In blind error while I did persevere,801 thy sharp repulse that pricketh so sore hath taught me to set in trifles no store but ’scape forth, for liberty is liefer.802 Therefore farewell. Go trouble younger hearts and in me claim no more authority. With idle youth go use thy property803 and thereupon go spend thy brittle darts,804 for hitherto I have lost my time. Me list no longer rotten boughs to climb.805

[75r]

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139.806

For to love her for her looks lovely my heart was set in thought right firmly, trusting by truth to have had redress.807 But she hath made another promise and hath given me leave full honestly.808

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799. Poem 138: hand 8. By Wyatt. Also in E, AH, and Tottel. In all versions other than D, the poem begins “Farewell, Love, and all thy laws forever.” 800. Lines 3–4: Over-painful experience has turned me against your teaching in order to exert my wits to find more secure happiness. 801. “persever” in D, thus maintaining the rhyme. 802. more precious. 803. special powers 804. Love (Cupid) was traditionally armed with arrows with which he struck lovers. 805. Proverbial: Tilley, B557; ODEP, 77. Compare poem 158, line 29. 806. Poem 139: hand 8. By Wyatt. Also in E. 807. remedy, relief. 808. The “honestly” is ironic.

200 The Devonshire Manuscript Yet do I not refuse809 it greatly, for on my faith I loved so surely, but reason will that I do cease810 for to love her. Since that in love the pains be deadly, methinks it best that readily I do return to my first address,811 for at this time too great is the press,812 and perils appear too abundantly for to love her.

140.813

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To rail or jest ye know I use it not, though that such cause sometime in folks I find, and though to change ye list814 to set your mind, love it who list, in faith I like it not. And if ye were to me as ye are not 5 I would be loath to see you so unkind. But since your faith must needs be so by kind,815 though I hate it, I pray you leave it not; [75v] things of great weight I never thought to crave, this is but small, of right deny it not. 10 Your feigning ways as yet forget them not but like reward let other lovers have: that is to say, for service true and fast too long delays and changing at the last. finis.

809. E has “rejoice.” 810. D has “leesse,” apparently a mistake for “cease” (as in E). 811. manner toward her (before I wooed her), 812. there are too many rivals, 813. Poem 140: hand 8. Probably by Wyatt; see note 620. 814. please 815. by nature,

The Devonshire Manuscript 201 141.816

My heart I gave thee not to do it pain, but to preserve it was to thee taken. I servèd thee not to be forsaken but that I should be rewarded again. I was content thy servant to remain but not to be paid under such fashion. Now, since that in thee is none other reason, displease thee not if that I do restrain;817 insatiate of my woe and thy desire, assurèd by craft t’excuse thy fault. [ … ]818 Farewell, I say, parting from the fire. For he that believeth bearing in hand,819 ploweth in water and soweth in sand.820

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142.821

The joy so short, alas, the pain so near, the way so long, the departure so smart;822 the first sight, alas, I bought too dear that so suddenly now from hence must part. The body gone, yet remain shall the heart with her which for me salt tears did rain, and shall not change till that we meet again.

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816. Poem 141: hand 8. By Wyatt. Another imperfect copy appears in D (poem 3). Also in E, AH, and Tottel. The sonnet is based on two poems, “El cor ti diedi” and “La donna di natura,” by Serafino Aquilano, a late-fifteenth-century Italian poet; see M&T, 279–80. 817. E and other versions have “refrain,” but “restrain” could mean “to refrain or hold back” (OED, s.v. “restrain,” 6). 818. One line missing. In E the line is “But since it please thee to feign a default,” 819. he that believes the false promises of others, 820. Proverbial: Tilley, S184 and S87; ODEP, 757. 821. Poem 142: hand 8. Probably by Wyatt; see note 620. 822. (1) sudden; (2) painful;

202 The Devonshire Manuscript The time doth pass, yet shall not my love. Though I be far, always my heart is near. Though other change, yet will not I remove. Though other care not, yet love I will and fear. Though other hate, yet will I love my dear. Though other will of lightness823 say adieu, yet will I be found steadfast and true. When other laugh, alas, then do I weep. When other sing, then do I wail and cry. When other run, perforced824 I am to creep. When other dance, in sorrow I do lie. When other joy, for pain well near I die. Thus brought from wealth, alas, t’endless pain, that undeservèd, causeless to remain.825

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finis.

143.826

Each man tells me I change of my device827 and, on my faith, me think it good reason to change purpose, even after the season. For in every case to keep still one guise828 is meet for them that would be taken wise, and I am not of such manner condition but treated after a diverse829 fashion, and thereupon my diverseness830 doth rise.

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823. because of their fickleness 824. compelled 825. Lines 20–21: Thus (I am) brought from prosperity to endless pain, which undeserved and uncaused by me, I must endure. 826. Poem 143: hand 8. By Wyatt. Also in E, AH, and Tottel. 827. (1) fancy (2) intention 828. form of behavior 829. different 830. variability, but perhaps also, adverseness (OED, s.v “diverseness,” 2).

The Devonshire Manuscript 203 But you that blame this diverseness most, change you no more, but still, after one rate, 10 treat ye me well and keep ye the same state, and while with me doth dwell this wearied ghost, my words nor I shall never be variable but always as your own, both firm and stable. finis

144.831

Pain of all pain, the most grievous pain, is to love heartily and cannot be lovèd again. Love with unkindness is causer of heaviness, of inward sorrow, and sighs painful. Where as I love is no redress to no manner of pastime;832 the spirits so dull with privy833 mournings834 and looks rueful, the body all wearish,835 the color pale and wan, more like a ghost than like a living man.

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When Cupido836 hath inflamèd the heart’s desires 10 to love there as is disdain,837 of good or ill the mind oblivious, nothing regarding but love t’attain, always imagining by what mean or train838 831. Poem 144: hand 8. The first two lines may be intended as a “burden” or refrain. The style of this poem, with its word inversion, old-fashioned diction, and use of classical references as authorities seems dated for the 1530s and 40s. 832. Lines 5–6:The person I love offers me no hope of relief in any kind of pleasure; 833. secret 834. sorrows 835. feeble, 836. the god of love 837. where it is disdained, 838. by what means or stratagem

204 The Devonshire Manuscript it may be at rest; thus, in a moment now here, now there, being never content. Tossing and turning when the body would rest, with dreams oppressed and visions fantastical, sleeping or waking, love is ever pressed sometime to weep, sometime to cry and call, bewailing his fortune and life bestial,839 now in hope of recure,840 and now in despair; this is a sorry life to live alway in care.

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Record841 of Terence842 in his comedies poetical: in love is jealousy and injuries many one, 25 anger and debate, with mind sensual, now war, now peace, musing all alone, sometime all mort843 and cold as any stone. This causeth unkindness of such as cannot skill of true love, assured with heart and good will.844 30 Lucrece the Roman, for love of our lord,845 and because perforce she had commit adultery with Tarquinus, as the story doth record, herself did slay with a knife, most piteously, among her nigh846 friends because that she

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839. beastlike, 840. remedy, 841. Learn 842. Publius Terentius Afer (ca.190–159 BC), “a Roman writer of comedies that typically involve competition between an old man and a young man aided by a servant, for the love of a woman” (Rebholz, 506). 843. dead 844. Lines 29–30: (All these ills) are caused by the unkindness of those who do not understand true love, made firm by the heart and good-will. 845. Lucrece is famous in legend as a chaste wife who killed herself when raped by Tarquin. This poem seems, anachronistically, to make her Christian, unless the copier has mistakenly written “our” instead of “her,” and the line attributes Lucrece’s suicide to love of her “lord” or husband. 846. close

The Devonshire Manuscript 205 so falsely was betrayed. Lo, this was the guerdon847 where as true love hath no dominion. To make rehearsal of old antiquity what needeth it? We see by experience among lovers it chanceth daily, 40 displeasure and variance for none offence. But if true love might give sentence that unkindness and disdain should have no place, but true heart for true love, it were a great grace.848 O Venus, lady, of love the goddess, 45 help all true lovers to have love again. Banish from thy presence disdain and unkindness, kindness and pity to thy service retain. For true love, once fixed in the cordial vein,849 can never be revulsed850 by no manner of art 50 until851 the soul from the body depart. finis

145.852

Lament my loss, my labor, and my pain, all ye that hear my woeful plaint and cry. If ever man might once your heart constrain to pity words, of right it should be I that, since the time that youth in me did reign, my pleasant years to bondage did apply,

[76v]

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847. reward, outcome 848. Lines 42–44: But if true love might pass judgment that unkindness and disdain should be banished and, instead, a true heart be rewarded by true love, it would be a great blessing. 849. in the heart’s vein, (love was thought to be seated in the heart). 850. withdrawn (this was a technical medical term for the withdrawing of blood). 851. D has “unto.” 852. Poem 145: hand 8. The poem may owe a faint debt to Petrarch, Rime 1; see M&T, 422.

206 The Devonshire Manuscript which, as it was, I purpose to declare, whereby my friends hereafter may beware. And if, perchance, some readers list to muse853 what meaneth me so plainly for to write, 10 my good intent the fault of it shall ’scuse which mean nothing but truly t’indite854 the craft and care, the grief and long abuse of lover’s law, and eke her puisssant855 might; which, though that men oft-times by pains doth know, 15 little they wot which ways the guiles doth grow.856 Yet well ye know it will renew my smart thus to rehearse the pains that I have passed. My hand doth shake, my pen scant doth his part, my body quakes, my wits begin to waste. 20 ’Twixt heat and cold, in fear I feel my heart panting for pain; and thus, as all aghast, I do remain scant wotting857 what I write. Pardon me, then, rudely though I indite. And patiently, O reader, I thee pray, take in good part this work as it is meant, and grieve thee not with aught that I shall say, since with goodwill this book abroad is sent to tell men how in youth I did assay858 what love did mean and now I it repent,

853. desire to ponder 854. write 855. powerful 856. they little know (“wot”) how the deceits develop. 857. knowing 858. try

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The Devonshire Manuscript 207 that moving me859 my friends might well beware, and keep them free from all such pain and care. finis

146.860

What should I say [77r] since faith is dead and truth away from you is fled? Should I be led 5 with doubleness? Nay, nay, mistress. I promised you, and you promised me to be as true 10 as I would be. But since I see your double heart, farewell, my part.861 Thought862 for to take 15 it is not my mind, but to forsake [ … ]863 and as I find so will I trust. 20 Farewell, unjust.

859. Perhaps: referring to me as an example (OED, s.v. “move,” v., III. 30a). Other editors have suggested substituting “noting” (Rebholz, 236) or “musing” ( M&T, 220). 860. Poem 146: hand 8. 861. my part or share of your heart. 862. D has “Though.” “Thought” makes better sense; see Rebholz, 532. 863. The line is missing in D. “One so unkind” has been suggested; see Rebholz, 532.

208 The Devonshire Manuscript Can ye say nay but [that] you said that I alway should be obeyed? 25 And thus betrayed ere that I wist!864 Farewell, unkissed.

147.865

finis

“How should I be so pleasant in my semblant866 as my fellows be?” Not long ago 5 it chanced so as I did walk alone, I heard a man that now and then himself did thus bemoan: 10 “Alas,” he said, “I am betrayed and utterly undone. Whom I did trust and think so just another man hath won.

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864. before I knew it! 865. Poem 147: hand 8. Another version of six stanzas is copied by MD earlier in D (poem 64). The fourth stanza of that version, omitted here, is particularly misogynist. The first four lines are the “burden” or refrain, spoken by the complainer. I have inserted quotation marks throughout to indicate the different voices of the poet and the lover he overhears. 866. appearance

The Devonshire Manuscript 209 “My service due and heart so true on her I did bestow. I never meant 20 for to repent in wealth nor yet in woe. “The western wind hath turned her867 mind and blown it clean away, thereby my wealth,868 my mirth and health, are driven to great decay.

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“Fortune did smile a right short while 30 and never said me nay, with pleasant plays and joyful days my time to pass away. “Alas, alas, 35 the time so was, so never shall it be, since she is gone and I alone am left869 as ye870 may see. 40 “Where is the oath? Where is the truth871

[77v]

867. D has “his,” apparently an error. For the popularity of the motif of the “western wind” in verse of the period, see note 366. 868. well being, 869. D has “armeles.” This may be “harmless,” but I have adopted an emendation suggested by Rebholz (532). 870. In this version, the lover addresses the listener directly. 871. D’s spelling, “trothe,” preserves the rhyme.

210 The Devonshire Manuscript that she to me did give? Such feigned words, with silly bourds,872 45 let no wise man believe. “For even as I, thus woefully, unto my self complain, if ye then trust, 50 needs learn ye must to sing my song in vain: “How should I etc. finis

148.873

Give place all ye that doth rejoice and love’s pangs hath clean forgot,874 let them draw near and hear my voice whom love doth force in pains to fret, for all of plaint my song is set,875 5 which long hath served and naught can get. A faithful heart so truly meant rewarded is full slenderly, a steadfast faith with good intent is recompensèd craftily. 10 Such hap doth hap unhappily876 to them that mean but honestly. With humble suit I have assayed877

872. trifling or foolish tricks, 873. Poem 148: hand 8. 874. D’s spelling, “forget,” preserves the rhyme. 875. composed, 876. such chance (or fortune) chances woefully (and unluckily) 877. tried

The Devonshire Manuscript 211 to turn her cruel-hearted mind, but for reward I am delayed, and to my wealth878 her ears be blind. Lo, thus by chance I am assigned, with steadfast love, to serve the unkind. What vaileth879 truth or steadfastness, or still to serve without reproof? What vaileth faith or gentleness where cruelty doth reign as chief? Alas, there is no greater grief than for to love and lack relief. Care doth constrain me to complain of love and her uncertainty which granteth naught but great disdain for loss of all my liberty. Alas, this is extremity: for love to find such cruelty. For hearty love to find such hate,880 alas, it is a careful lot.881 And for to void882 so foul a mate883 there is no way but slip the knot. The gain so cold, the pain so hot, praise it who list,884 I like it not.

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finis 878. well-being 879. use is 880. D has “cruelty.” The substitution was suggested by M&T, 423, who argue that “cruelty” had been inadvertently copied from line 30. 881. a woeful fate. 882. to get rid of 883. D has “mote.” The substitution was suggested by M&T, 423. 884. pleases,

212 The Devonshire Manuscript 149.885 Divers886 doth use, as I have heard and know, when that to change their ladies do begin, to mourn, and wail, and never for to lin,887 hoping thereby to ’pease888 their painful woe. And some there be that when it chanceth so 5 that woman change and hate where love hath been they call them false and think with words to win the hearts of them which otherwhere889 doth grow.890 But as for me, though that by chance indeed change hath outworn the favor that I had, 10 I will not wail, lament, nor yet be sad, nor call her false that falsely did me feed,891 but let it pass and think it is of kind892 that often change doth please a woman’s mind. finis

150.893

The loss is small to lose such one that shrinketh for a slender nay, and wit they lack that would make moan though all such piques were wiped away.894 finis

885. Poem 149: hand 8. 886. Various people 887. cease, 888. appease, pacify 889. elsewhere 890. flourish. 891. comfort, gratify, 892. in their nature 893. Poem 150: hand 8. 894. even supposing that all such quarrels (“piques”) were removed.

The Devonshire Manuscript 213 151.895

Spite hath no power to make me sad and this896 [78r] 897 nor scornfulness to make me plain, it doth suffice that once I had and so to leave it is no pain. Let them frown on that least doth gain, 5 who did rejoice must needs be glad, and though with words thou weenest898 to reign, it doth suffice that once I had Since that in checks thus overthwart,899 and coyly900 looks, thou dost delight, it doth suffice that mine thou wert901 though change hath put thy faith to flight. Alas, it is a peevish902 spite to yield thyself and then to part, but since thou sett’st903 thy faith so light, it doth suffice that mine thou wert. And since thy love doth thus decline and in thy heart such hate doth grow, it doth suffice that thou wert mine, and with goodwill I quit it so. Sometime my friend, farewell my foe, since thou change I am not thine. But for relief of all my woe, it doth suffice that thou wert mine.

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895. Poem 151: hand 8. Although in D the poem is divided into eight stanzas of four lines, the rhymes and the repetition of the third line of each stanza as a refrain-like last line indicate that the poem’s form should be four stanzas of eight lines. 896. Annotation by MD. 897. lament, 898. you think 899. such hostile taunts, 900. reserved, evasive 901. Here and in line 16, D has “warte,” which preserves the rhyme. 902. perverse 903. D has “seiste.”

214 The Devonshire Manuscript Praying you all that hears this song to judge no wight,904 nor none to blame. It doth suffice she doth me wrong and that herself doth know the same. And though she change, it is no shame, their kind it is905 and hath been long. Yet, I protest, she hath no name; it doth suffice she doth me wrong.

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152.906

Grudge on who list, this is my lot: no thing907 to want, if it were not.

[78v]

My years be young, even as ye see, all things thereto doth well agree, in faith, in face, in each degree, no thing doth want, as seemeth me, if it were not.

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Some men doth say that friends be scarce, but I have found, as in this case, a friend which giveth to no man place, but makes me happiest that ever was, if it were not.

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Grudge on who list, this is my lot: no thing to want, if it were not. 904. no one, 905. it is women’s nature to be fickle 906. Poem 152: hand 8. The first two lines are the “burden” or refrain. The poem is in a woman’s voice, but a note of risqué innuendo in the poem, and the implication that it refers to an adulterous relationship, may suggest the author is a man. 907. It may be relevant that “thing” is a euphemism or slang for the genitals.

The Devonshire Manuscript 215 A heart I have besides all this that hath my heart and I have his; if he doth well it is my bliss, and when we meet, no lack there is, if it were not.

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If he can find that can me please he thinks he does his own heart’s ease, and likewise I could well appease the chiefest cause of his misease, if it were not.

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Grudge on who list, this is my lot: no thing to want, if it were not. A master, eke,908 God hath me sent to whom my will is wholly bent to serve and love, for that intent909 that both we might be well content, if it were not.

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And here an end. It doth suffice to speak few words among the wise.910 Yet take this note before your eyes:911 my mirth should double once or twice, if it were not. Grudge on who list, this is my lot: No thing to want, if it were not. finis

908. also, 909. with the intention 910. Proverbial: Tilley, W781; ODEP, 914. 911. Yet take note of my words:

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216 The Devonshire Manuscript 153.912

Fortune doth frown, what remedy? I am down913 by destiny. finis

154.914

Ah, my heart, ah, what aileth thee to set so light my liberty, making me bound when I was free? Ah, my heart, ah, what aileth thee? When thou were rid from all distress, void of all pain and pensiveness, to choose again a new mistress! Ah, my heart, ah, what aileth thee? When thou were well thou could not hold to turn again.915 That were too bold,916 thus to renew my sorrows old! Ah, my heart, ah, what aileth thee? Thou knowest full well that but of late I was turnèd out of love’s gate, and now to guide me to this mate! Ah, my heart, ah, what aileth thee?

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I hoped full well all had been done, but now my hope is ta’en and won. 912. Poem 153: hand 8. 913. D has “done.” The rhyme suggests “down” is intended. 914. Poem 154: hand 8. Also in B. The first line provides the “burden” or refrain. 915. restrain yourself from loving again. 916. foolhardy, (B has “thou” where D has “that”).

The Devonshire Manuscript 217 To my torment to yield so soon! Ah, my heart, ah, what aileth thee?

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155.917

Hate whom ye list918 for I care not. Love whom ye list and spare not.919 Do what ye list and dread not. Think what ye list, I fear not. For, as for me, I am not but even as one that recks not920 whether ye hate or hate not, for in your love I dote not. Wherefore, I pray you, forget not, but love whom ye list, for I care not.

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156.921

Greeting to you both in hearty wise, as unknown,922 I send. And this my intent, as I do here, you to advertise

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917. Poem 155: hand 8. Also in B and Court of Venus (a highly variant version, beginning “Love whom ye list and spare not”). 918. wish 919. don’t hold back. 920. Lines 5–6: I am not (one who fears) but like one who cares not 921. Poem 156: hand 8. The poem belongs to a popular genre of poems that dispensed prudent advice couched in commonplaces and proverbs. The poem may parody the genre (compare a parodic example by Heywood, note 936 below). The opening and concluding stanzas mimic the openings and endings of a letter. I am particularly indebted to Rebholz, (507–8), who identifies many of the proverbs in the poem. 922. anonymously,

218 The Devonshire Manuscript lest that perchance your deeds you do repent.923 The unknown man dreads not to be shent924 5 but says as he thinks;925 so fares it by me that neither fear nor hope in no degree. The body and the soul to hold together it is but right, and reason will[s]926 the same, and friendly the one to love the other; 10 927 it increaseth your bruit and also your fame. But mark well my words, for I fear no blame, trust well yourselves but ’ware ye trust no more,928 for such as ye think your friend may fortune be your foe.929 Beware hardily930 ere ye have any need, 15 and to friends reconcilèd trust not greatly, for they that once with hasty speed exilèd themselves out of your company, though they turn again and speak sweetly, feigning themselves to be your friends fast,931 20 beware of them, for they will deceive you at last. Fair words makes fools fain,932 and bearing in hand causeth much woe,933 for time trieth truth.934 Therefore, refrain 923. Lines 2–4: my intention is to warn you, as I do here, that you might repent your deeds. 924. someone who is anonymous does not fear disgrace 925. Proverbial: Tilley, S725; ODEP, 760. 926. D has “woll.” 927. reputation 928. Proverbial: e.g., Tilley, T549 or F721; ODEP, 710. 929. Proverbial: Tilley, T595, F718, or F410; ODEP, 50. 930. Be determinedly cautious 931. firm friends, 932. Fair words make willing fools, (proverbial: Tilley, W794; ODEP, 241). 933. false promises cause much woe, (proverbial: Tilley, H94; ODEP, 34). 934. Proverbial: Tilley, T338; ODEP, 828.

The Devonshire Manuscript 219 and from such as be ready to do.935 25 None do I name, but this I know that by this fault cause causeth much.936 Therefore beware if you do know any such. To wise folks few words937 is an old saying; therefore, at this time, I will write no more, 30 but this short lesson take for a warning: by such light friends set little store,938 if ye do otherwise, ye will repent it sore. And thus of this letter making an end, to the body and the soul I me commend.939 35 Written lifeless, at the manor940 place [79v] 941 of him that hath no chamber, nor nowhere doth dwell, but wandering in the wild world, wanting that he has, and neither hopes nor fears heaven nor hell, but liveth at adventure.942 Ye know him full well.943 40 The twenty day of March, he wrote it in his house, and hath him recommended to the cat and the mouse.944 finis

935. Perhaps: Therefore hold back from those who are over-eager to act on your behalf. 936. Much happens as a consequence of this fault. The phrase is proverbial: cited in John Heywood, A Dialogue Conteinyng the Nomber [ … ] of all the Proverbes [ … ] Concernyng Two Maner of Marriages (London: Thomas Berthelet, 1546), sig. Ciir. 937. Proverbial: Tilley, W781; ODEP, 914. 938. put little trust in superficial friends, 939. The speaker recommends his advice to the whole person, body and soul. 940. D has “manner.” I follow Rebholz (508) who suggests “manor.” 941. This word is difficult to read in D. M&T (226) suggest “chave” (cave?). I tentatively suggest the word may be “cha[m]b[r]e.” 942. recklessly. 943. M&T (424) suggest a ghost is speaking. Perhaps the voice represents experience. 944. That is, perhaps, the aggressor and the victim.

220 The Devonshire Manuscript 157.945

My love took scorn my service to retain, wherein, me thought, she usèd cruelty, since with goodwill I lost my liberty to follow her which causeth all my pain. Might never care cause me for to refrain 5 but only this which is extremity, giving me naught, alas: not to agree that, as I was, her man I might remain!946 But since that thus ye list947 to order me that would have been your servant true and fast, 10 displease thee not, my doting days be past, and with my loss to leave I must agree. For as there is a certain time to rage, so is there time such madness t’assuage. finis

158.948

Tangled I was in love’s snare, oppressed with pain, torment with care, of grief right sure, of joy full bare, clean in despair949 by cruelty. But ha, ha, ha, full well is me, for I am now at liberty.

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The woeful days so full of pain, the weary night all spent in vain, the labor lost for so small gain, 945. Poem 157: hand 8. Also in Tottel (in Wyatt section). 946. Lines 5–8: (Care) could never force me to leave off loving her, but only this extreme cruelty that leaves me with nothing, alas: (i.e.,) to deny that I might remain her vassal! 947. wish 948. Poem 158: hand 8. The poem’s laughing refrain may owe a debt to two poems, “Fui serrato nel dolore” and “Contra Una Vecchia,” by Serafino Aquilano, a late-fifteenth-century Italian poet; see M&T, 424–26. 949. totally in despair

The Devonshire Manuscript 221 to write them all it will not be. But ha, ha, ha, full well is me, for I am now at liberty. Everything that fair doth show, when proof is made, it proveth not so, but turneth mirth to bitter woe, which in this case full well I see. But ha, ha, ha, full well is me, for I am now at liberty. Too great desire was my guide, and wanton will went by my side, hope rulèd still and made me bide of love’s craft th’extremity. But ha, ha, ha, full well is me, for I am now at liberty With feignèd words which were but wind950 too long delays I was assigned, her wily looks my wits did blind; thus as she would I did agree. But ha, ha, ha, full well is me, for I am now at liberty Was never bird tangled in lime that brake away in better time, than I that rotten boughs did climb951 and had no hurt but ’scapèd free. Now ha, ha, ha, full well is me, for I am now at liberty. finis

950. Proverbial: Tilley, W833; ODEP, 915. 951. Proverbial: Tilley, B557; ODEP, 77. Compare poem 138, line 14.

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222 The Devonshire Manuscript 159.952

Longer to muse on this refuse I will not use, but study to forget, letting all go 5 since well I know to be my foe her heart is firmly set. Since my intent, so truly meant, 10 cannot content her mind, as I do see, to tell you plain, it were in vain for so small gain 15 to lose my liberty. For if he thrive that will go strive a ship to drive against the stream and wind,953 20 undoubtedly then thrive should I to love truly a cruel-hearted mind. But since that so 25 the world doth go that every woe by yielding doth increase, as I have told I will be bold 30

952. Poem 159: hand 8. 953. Perhaps alluding to the proverb “To sail with the wind and the tide” (to take advantage of opportunity), Tilley, W429; ODEP, 892.

The Devonshire Manuscript 223 [ … ]954 thereby my pains to cease. Praying you all that after shall by fortune fall 35 into this foolish trade,955 have in your mind, as I do find, that oft by kind956 all women’s love do fade 40 Wherefore, apace957 come take my place some man that has a lust to burn the feet. For since that she refuseth me I must agree and study to forget.

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160. 959

and this958 Love doth again [80v] put me to pain and yet all is but lost. I serve in vain and am, certain, 5 of all misliked most.

954. The rhyme scheme suggests that a line is missing in this stanza. 955. course, 956. by nature 957. quickly 958. Annotation by MD. 959. Poem 160: hand 8. Also in B where it begins “Love hath again.”

224 The Devonshire Manuscript Both heat and cold doth so me hold and cumbered so my mind that when I should speak and behold960 it driveth me still behind.961 My wits be past, my life doth waste, my comfort is exiled, and I in haste am like to taste how love hath me beguiled—

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—unless that right may in her sight 20 obtain pity and grace. Why should a wight962 have beauty bright if mercy have no place? Yet I, alas, 25 am in such case that back I cannot go, but still forth trace a patient pace963 and suffer secret woe. 30 For with the wind my fired mind

960. B has “be bold.” D’s “behold” may be a copying error. 961. Lines 11–12: when I should speak and gaze on her, (my conflicting passions) force me to hold back. 962. person 963. Lines 28–29: but still go forward patiently

The Devonshire Manuscript 225 doth still [increase]964 in flame, and she unkind that did me bind doth turn it all to game.965

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Yet can no pain make me refrain, nor here and there to range. I shall retain 40 hope to obtain her heart that is so strange.966 But I require the painful fire that oft doth make me sweat, for all my ire, with like desire to give her heart a heat.967

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Then shall she prove how I her love 50 and what I have offered, which should her move for to remove the pains that I have suffered. And better fee 55 than she gave me she shall of me attain, for whereas she

964. B has “increase in flame.” D omits “increase.” This is likely to be an error, as it spoils the rhythm of the line. 965. turns it to jest. 966. unfriendly, distant. 967. Lines 43–48: I would like the painful fire (of love) that has made me sweat, to burn her heart in order to recompense my anger. B has “hire” instead of “ire.”

226 The Devonshire Manuscript showed cruelty, she shall my heart obtain.

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161.968

With serving still this have I won: for my good will to be undone. And for redress 5 of all my pain, disdainfulness I have again. And for reward of all my smart, 10 lo, thus unheard, I must depart. Wherefore all ye that after shall by fortune be, 15 as I am, thrall, example take what I have won: thus for her sake to be undone. 20 finis

968. Poem 161: hand 8. Also in B.

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The Devonshire Manuscript 227 162.970

learn but to sing it969

Now all of change must be my song and from my bond now must I break since she so strange971 unto my wrong 5 doth stop her ears to hear me speak. Yet none doth know so well as she my grief which can have no restraint. That fain972 would follow now needs must flee for fault of ear973 unto my plaint. I am not he, by false assays nor feignèd faith, can bear in hand,974 though most I see that such always are best for to be understood.975

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969. Annotation by MD. The position of the annotation is ambiguous, and it could refer to poem 161 or 162. However, MD consistently places such marks at the head of poems in D. The AH copy of poem 162 has “To Smithe of Camden” written under it; this may be the name of a popular tune to which this poem could be sung; see M&T, 427. 970. Poem 162: hand 8. Also in AH (a shorter version). The D copyist was at first uncertain about where the line breaks came in this poem, and lines 3, 6, and 9 were each written into D as two separate lines. In AH, the poem is set out in stanzas of four four-syllable lines. 971. unfriendly 972. That which would like to follow (“that” could refer to the lover who is speaking or to the next bit of his song). 973. because she will not listen 974. Lines 13–15: I am not the kind of person who tricks others with deceitful attempts and pretended faith, (the phrase “bear in hand” is proverbial; see Tilley, H94; ODEP, 34). 975. Lines 16–18. Perhaps: though I see that it is always best to view promises and faith in this way (as false). D uses an older form of the past participle “undrestonde,” which preserves the rhyme.

228 The Devonshire Manuscript But I that truth hath always meant 20 doth still proceed to serve in vain. Desire pursueth my time misspent and doth not pass upon976 my pain. O fortune’s might 25 that each compels and me the most! It doth suffice now, for my right, to ask naught else, but to withdraw this enterprise.977 30 And for the gain of that good hour which of my woe shall be relief, I shall refrain, by painful power, 35 the thing that most hath been my grief. I shall not miss to exercise the help thereof which doth me teach: that after this 40 in any wise978 to keep right within my reach.979 And she unjust which feareth not in this her fame to be defiled.980 45 [81v] 976. care about 977. That is, his love suit. 978. by all means 979. to keep close to what is right or to keep strictly to what is in my power. 980. does not fear to besmirch her reputation.

The Devonshire Manuscript 229 Yet once, I trust, shall be my lot to quit981 the craft that me beguiled. finis

163.982

Driven by desire, I did this deed to danger myself without cause why,983 to trust the untrue, not like to speed,984 to speak and promise faithfully. But now the proof doth verify that who so trusteth ere he know doth hurt himself and please his foe.985

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164.986

I abide, and abide, and better abide, and, after the old proverb, the happy day.987 And ever my lady to me doth say: “Let me alone and I will provide.”988 I abide, and abide, and tarry the tide, and with abiding, speed well ye may.

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981. D has “quite.” This could mean either to avenge (“[re]quite”) or to renounce (“quit”). 982. Poem 163: hand 8. Also in B (in which this poem is run together with another poem; see M&T, 396) and Tottel (in Wyatt section). 983. to imperil myself without cause, 984. unlikely to prosper, 985. Proverbial: Tilley, T558 or 595; ODEP, 842 or 845. 986. Poem 164: hand 8. 987. Compare Chaucer, “The Tale of Melibee,” Canterbury Tales, fragment 7, line 1053: “He hasteth wel that wisely kan abyde” (cited by M&T, 427); compare Tilley, S835; ODEP, 771. 988. The quotation marks are editorial additions.

230 The Devonshire Manuscript Thus do I abide, I wot,989 alway, neither obtaining nor yet denied. Aye me, this long abiding seemeth to me, as who saith,990 10 a prolonging of a dying death or a refusing of a desirèd thing. Much were it better for to be plain991 than to say abide and yet shall not obtain. finis

165.992

Absence absenting causeth me to complain, my sorrowful complaints abiding in distress, and departing most privy increaseth my pain.993 Thus live I uncomforted, wrappèd all in heaviness. In heaviness I am wrappèd, devoid of all solace. 5 [82r] Neither pastime nor pleasure can revive my dull wit. My spirits be all taken,994 and death doth me menace with his fatal knife the thread for to cut.995 For to cut the thread of this wretched life and shortly bring me out of this case,996 10

989. I know, 990. as one might say, 991. it were better to speak frankly 992. Poem 165: hand 8. The poem is listed in B’s table of contents, but the text is missing. 993. (her) very clandestine departure increases my pain, or departing increases my very private pain. 994. I am deprived of my vital powers, 995. D’s spelling, “kitt,” preserves the rhyme. The image draws on the classical myth of the three Fates (generally female), one of whom spun and another of whom, here identified with death, cut the thread of life. 996. of this condition,

The Devonshire Manuscript 231 I see it availeth not.997 Yet must I be pensive since fortune from me hath turnèd her face. Her face she hath turnèd with countenance contrarious,998 and clean from her presence she hath exilèd me, in sorrow remaining as a man most dolorous, 15 exempt from all pleasure and worldly felicity. All worldly felicity now am I private,999 and left in desert most solitarily, wandering all about as one without mate. My death approacheth. What remedy?

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What remedy, alas, to rejoice my woeful heart, with sighs suspiring1000 most ruefully? Now welcome! I am ready to depart. Farewell all pleasure! Welcome pain and smart!1001 finis

166.1002 I find no peace and all my war is done, I fear and hope, I burn and freeze like ice, I fly about the heaven, yet can I not arise, and naught I have and all the world I seize on. That looseth nor locketh holdeth me in prison,1003 5 and holdeth me not, yet can I ’scape no wise, 997. I see it is no use (hoping). 998. hostile, 999. I am now deprived of all worldly felicity, 1000. breathing out sighs 1001. The breakdown of the rhyme scheme in the final stanza suggests there may be some garbling of the text. 1002. Poem 166: hand 8. By Wyatt. Also in E; BL, MS Add. 36529; and Tottel. The sonnet translates Petrarch, Rime 134; see M&T, 286. 1003. That which neither lets me free nor secures me holds me in prison,

232 The Devonshire Manuscript nor letteth me live nor die at my device,1004 and yet of death it giveth me occasion. Without eyes I see and without tongue I plain, I desire to perish and yet I ask health, I love another and thus I hate myself, I feed me in sorrow and laugh in all my pain. Likewise displeaseth me both death and life, and my delight is causer of this strife.

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finis

167.1005 Patience for I have wrong and dare not show wherein. Patience shall be my song since truth can nothing win. Patience, then, for this fit1006 5 hereafter comes, not yet.1007 finis

168.1008 When that I call unto my mind the time of hope that once I had, the great abuse that did me blind doth force me always to be sad. Yet of my grief I feign me glad,

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1004. according to my own will, 1005. Poem 167: Probably hand 8 using italic script, but see Table of Hands. This stanza may be a fragment of a longer poem such as poems 18 or 31. See note 102 for the genre and its probable source. 1006. (1) a painful experience (2) a part of a song 1007. Proverbial: Tilley, H439; ODEP, 370. 1008. Poem 168: hand 8.

The Devonshire Manuscript 233 but am assured I was too bold to trust to such a slipper hold.1009 I thought it well that I had wrought, willing forthwith so to ensue,1010 but he that seeks as I have sought shall find most trust oft-times untrue, for least I recked, that most I rue;1011 of that I thought myself most sure is now the want of all my cure.1012 Amidst my wealth I did not reck,1013 but soon, alas, ere that I wist,1014 the time was come that, all too weak, I had no power for to resist. Now am I proof, to them that list,1015 to flee such woe and wrongful pain as in my heart I do sustain. For feignèd faith is always free and doth incline to be unjust, that sure I think there can none be too much assured, without mistrust.1016 But hap what may to them that must sustain such cruel destiny with patience for remedy.

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1009. such uncertain possession. 1010. to follow along in the same way, 1011. for what I least heeded that I most regret; 1012. Lines 13–14: what I most trusted is now the cause of all my ills. 1013. In my prosperous days I did not take care, 1014. before I knew, 1015. to those who wish to take note, 1016. Lines 24–25: certainly I think no one should be over-confident and over-trusting.

234 The Devonshire Manuscript As I am one which by restraint1017 abides the time of my return,1018 30 in hope that fortune by my plaint will slake the fire wherewith I burn, since no ways else may serve my turn. Yet for the doubt of this distress1019 I ask but right for my redress. 35 finis

169.1020 To make an end of all this strife, no longer time for to sustain, but now with death to change the life of him that lives always in pain, despair such power hath in his hand that helpeth most, I know certain, may not withstand.1021 May not withstand that is elect by fortune’s most extremity,1022 but all in worth to be except, withouten law or liberty.1023

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1017. by restraining or controlling myself 1018. Perhaps: the return of my good fortune, 1019. Yet to resolve the question of my suffering (in my complaint to fortune) 1020. Poem 169: hand 8. 1021. Lines 5–7: I know for sure that despair has such power in his own hand that it may not be resisted (i.e., suicide). 1022. Lines 8–9: (He) who is chosen out by Fortune to receive extreme misfortune, may not withstand it, 1023. Lines 10–11: instead he is worthy to be an exception, outside laws or rights. (Suicide was an offence against the laws of God and man.)

The Devonshire Manuscript 235 What vaileth then unto my thought1024 if right can have no remedy? There vaileth naught.1025 There vaileth naught, but all in vain. The fault thereof may none amend, but only death, for to constrain this spiteful hap1026 to have an end. So great disdain doth me provoke that dread of death cannot defend1027 this deadly stroke.1028 This deadly stroke whereby shall cease the harbored sighs within my heart. And for the gift of this release my hand in haste shall play his part to do this cure, against his kind,1029 for change of life from long desert to place assigned.1030 To place assigned for evermore. Now by constraint, I do agree to loose the bond of my restore1031 wherein is bound my liberty. Death and despair doth undertake

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1024. How, then, can it help my feelings of despair 1025. Nothing is of any use. 1026. fortune 1027. even dread of death cannot prevent 1028. the act of suicide. 1029. this unnatural cure, 1030. Lines 27–28: to change my life, after long deserving service (“desert”) or after long in the wilderness (OED, s.v. “desert,” n.2), to the place assigned him (by fate or the lady). Given that suicide was an offence against God, the “place assigned” may be damnation as well as death. 1031. Perhaps: to loose the shackles of my (hope for) restitution (the idea may be that it is his hope of restitution to her favor that keeps him bound to her).

236 The Devonshire Manuscript from all mishap now hardily1032 this end to make.

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170.1033 Will ye see what wondrous1034 love hath wrought? Then come and look at me, there need nowhere else to be sought, in me ye may them see. For unto that that men may see, most monstrous thing of kind, myself may best compared be,1035 love hath me so assigned. There is a rock in the salt flood, a rock of such nature, that draweth the iron from the wood and leaveth the ship unsure.1036 She is the rock, the ship am I, that rock my deadly foe that draweth me there where I must die and robbeth my heart me fro.1037

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1032. boldly 1033. Poem 170: hand 8. Loosely based on the first two stanzas of Petrarch, Rime 135; see M&T, 428. The first line is written by hand 8 in a larger, more ornate script, as though a heading. 1034. “Wondrous” is emended by most editors to “wonders” as the poem lists the wonders of love. 1035. Lines 5–7: I may best be compared to whatever men consider the most monstrous freak of nature, 1036. A magnetic stone believed to lie in the Gulf of Bengal; see M&T, 429. 1037. from me.

The Devonshire Manuscript 237 A bird there flyeth and that but one,1038 of her this thing ensueth:1039 that when her days be spent and gone, with fire she reneweth.

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And I with her may well compare my love that is alone,1040 the flame whereof doth aye repair my life when it is gone. finis

171.1041 Deem1042 as ye list. Upon good cause I may, and think of this or that,1043 but what or why myself best knows, whereby I think and fear not. But thereunto I may well think the doubtful sentence of this clause:1044 I would it were not as I think, I would I thought it were not. For if I thought it were not so, though it were so, it grieved me not; unto my thought it were as though I harkened though I hear not. At that I see, I cannot wink,

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1038. The legendary phoenix was supposed to be unique and to renew itself once in a thousand years by immolating itself and then rising from its ashes. 1039. comes to pass: 1040. that is unique, 1041. Poem 171: hand 8. Also in Proctor, Gorgious Gallery. 1042. Judge 1043. Lines 1–2: While you may judge as you please, I have good cause to do so and to think various things, 1044. the ambiguous (or fearful) sense of the following sentence:

238 The Devonshire Manuscript nor, from my thought, so let it go. I would it were not as I think, I would I thought it were not.

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Lo, how my thought might make me free of that, perchance, it needeth not.1045 Perchance, no doubt, the dread I see I shrink at that I bear not.1046 20 But in my heart this word1047 shall sink, until1048 the proof may better be: I would it were not as I think, I would I thought it were not. If it be not, show no cause why I should so think. Then care I not. For I shall so myself apply to be that I appear not: that is, as one that shall not shrink to be your own until I die, and, if it be not as I think, likewise to think it is not.

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1045. Perhaps: of that which it need not fear. 1046. Perhaps: I shrink from what I imagine I see, but which I do not experience (i.e., I imagine falsely). 1047. maxim 1048. D has “unto.” I have inserted “until” from the version in Proctor’s Gorgious Gallery because it makes better sense.

The Devonshire Manuscript 239 172.1049 I am as I am and so will I be, but how that I am none knoweth truly, be it evil, be it well, be I bound, be I free, I am as I am and so will I be.

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I lead my life indifferently,1050 5 I mean no thing but honestly, and though folks judge full diversely,1051 I am as I am and so will I die. I do not rejoice nor yet complain, both mirth and sadness I do refrain,1052 and use the mean since folks will feign,1053 yet I am as I am, be it pleasure or pain. Divers1054 do judge as they do trow,1055 some of pleasure and some of woe, yet, for all that, no thing they know but1056 [I] am as I am wheresoever I go. But since judgers do thus decay,1057 let every man his judgment say; I will it take in sport and play, for I am as I am whosoever say nay.

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1049. Poem 172: hand 8. Also in B (where it lacks the first 8 lines), and the “Bannatyne Manuscript,” Edinburgh, National Library of Scotland MS Adv.1.1.6 (1568). An earlier version, in carol form with the “burden” or refrain consisting of the first two lines of stanza 1, is in University of Pennsylvania, MS Latin 35 (early sixteenth century). 1050. impartially, without prejudice, 1051. (1) otherwise, (2) in various ways, 1052. refrain from, 1053. since others are untrustworthy, I keep my emotions under control, (the “mean” refers to Aristotle’s description in Nicomachean Ethics of virtue as a mean between two extremes). 1054. Various people 1055. believe, 1056. other than that 1057. deteriorate from the required standard, fail,

240 The Devonshire Manuscript Who judgeth well, well God him send. Who judgeth evil, God them amend. To judge the best therefore intend, for I am as I am and so will I end. Yet some there be that take delight to judge folks’ thought for envy and spite; but whether they judge me wrong or right, I am as I am and so do I write.

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Praying you all that this do read to trust it as you do your creed,1058 30 and not to think I change my weed,1059 for I am as I am however I speed.1060 But how that is, I leave to you. Judge as ye list, false or true. Ye know no more than afore ye knew. Yet I am as I am whatever ensue. And from this mind1061 I will not flee, but to you all that misjudge me I do protest, as ye may see, that I am as I am and so will I be.

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1058. A statement of fundamental beliefs, perhaps alluding ironically to the uncertainty of beliefs during the Henrician church’s many changes of doctrine. 1059. clothes (i.e., change my outward appearance), 1060. whether I succeed or not. 1061. opinion

The Devonshire Manuscript 241 173.1062 Mine own John Poyntz,1063 since ye delight to know [85v] the cause why that homeward I me draw and flee the press of courts whereso they go, rather than to live thrall under the awe of lordly looks, wrappèd within my cloak, 5 to will and lust learning to set a law; it is not for because I scorn or mock the power of them to whom fortune hath lent charge over us, of right to strike the stroke. But true it is that I have always meant 10 less to esteem them than the common sort, of outward things that judge in their intent without regard what doth inward resort.1064 I grant sometime that of glory the fire doth touch my heart—me list not to report 15 blame by honor, and honor to desire—1065 but how may I this honor now attain that cannot dye the color black a liar?1066 My Poyntz, I cannot frame my1067 tune to feign, to cloak the truth for praise, without desert, 20 of them that list all vice for to retain. 1062. Poem 173: hand 9. For varying views on this hand, see my comment in the Table of Hands. By Wyatt. Also in E (where lines 1–51 are missing); AH; Tottel; Cambridge, MS Corpus Christi 168 (ca.1558–78); BL, MS Add. 36529 (ca.1560–90); and Cambridge University Library, MS Ff.5.14 (ca.1566–72). Wyatt freely paraphrases the tenth satire of Luigi Alamanni’s Opere Toscane; see M&T, 347–49. The copyist has laid out this poem with an elaborate capital letter at the beginning of every third line and indentation of the following two lines, thus emphasizing the terza rima rhyme scheme of the poem. I have retained the indentations but followed my normal practice of using capitals only at the beginning of a sentence. 1063.A fellow courtier and, presumably, friend of Wyatt; see ODNB, s.v. “Poyntz, Sir Robert,” which includes a biography of his son, John Poyntz. 1064. Lines 10–13: It is true I have always esteemed the high and mighty less than do the common sort of people, who judge only by external show, not inner qualities. 1065. I do not wish to say honor is worthless, yet still desire it— 1066. that cannot lie about the truth? The line draws on a proverb about hypocrisy: “to say that black is white”; see Tilley, B440 and 441; ODEP, 64. 1067. D has “from me,” but this seems to be an error for “frame my” (i.e., compose my) found in other versions.

242 The Devonshire Manuscript I cannot honor them that sets their part with Venus and Bacchus1068 all their life long, nor hold my peace of them although I smart. I cannot crouch nor kneel to do so great a wrong 25 to worship them like god on earth alone that are as wolves, these silly1069 lambs among. [ … ]1070 I cannot speak and look like a saint, use wiles for wit and make deceit a pleasure, and call craft counsel, for profit still to paint. I cannot wrest the law to fill the coffer, [86r] with innocent blood to feed myself fat, 35 and do most hurt where most help I offer. I am not he that can allow the state1071 of him Caesar, and damn Cato to die that with his death did ’scape out of the gate from Caesar’s hands, if Livy do not lie,1072 40 and would not live where liberty was lost; so did his heart the commonweal apply.1073 I am not he such eloquence to boast to make the crow singing as the swan, nor call the lion of coward1074 beasts the most, 45

1068. The classical gods of love (or lust), and wine (or drunkenness). 1069. helpless 1070. Cambridge, MS Corpus Christi 168 and Tottel include three lines that are omitted from D (I give the lines in a modernized version):

I cannot with my words complain and moan



and suffer naught, nor smart without complaint,



nor turn the word that from my mouth is gone.

1071. rank and authority 1072. Lines 37–40: Wyatt refers to the Roman historian Livy’s account of Cato the Younger, famous for his virtue, who committed suicide having been defeated in battle by Caesar. The equivalent passage in Alamanni’s satire praises Brutus’s rebellion against the tyrant Sulla, potentially a more politically dangerous example. 1073. so much was his heart devoted to the common good. 1074. D has “cowards.”

The Devonshire Manuscript 243 that cannot take a mouse as the cat can;1075 and he that dieth for hunger of the gold call him Alexander, and say that Pan passeth Apollo in music many fold;1076 praise Sir Thopas for a noble tale 50 and scorn the story that the Knight told;1077 praise him for counsel that is drunken of ale, grin when he laughs that beareth all the sway, frown when he frowns and groan when he is pale, on other’s lust1078 to hang both night and day. 55 None of these points would ever frame in me;1079 my wit is naught, I cannot learn the way. And much the less of things that greater be, that asken help of colors of device to join the mean with each extremity,1080 60 with the nearest virtue to cloak alway the vice,1081 and, as to purpose likewise it shall fall, to press the virtue that it may not rise: as drunkenness good fellowship to call, [86v] the friendly foe with his double face 65 1075. Lines 45–46: nor can I miscall the lion the most cowardly of beasts merely because it is less good at catching mice than the cat; 1076. Lines 47–49: Both these stories refer to classical myths of King Midas. In one he was in danger of starving as everything he touched turned to gold, including food and drink. Such a king should not be compared to Alexander the Great, the Greek conqueror of the then-known world. In another story, Midas judged the wood-god Pan’s playing of his pipes to be superior to that of Apollo, god of music and poetry. 1077. In The Canterbury Tales, the pilgrim Chaucer’s courtly romance about Sir Thopas is rightly described as “doggerel” by the Host, whereas the tale told by the Knight in the Canterbury Tales is a noble example of the same genre. 1078. desire (not necessarily sexual) 1079. ever suit me; (D has “never,” apparently an error). 1080. Lines 59–60: much less can I use tricks of language (“colors of device”) to make Aristotle’s ideal of the virtuous mean indistinguishable from vicious excess, 1081. In the next few lines, Wyatt, like Alamanni, illustrates the rhetorical figure that his persona condemns, i.e., paradiastole (calling something its opposite). Puttenham, The Arte of English Poesie, 154, named this figure “curry favel” (flatterer) and described this trait as one particularly suited to courtiers.

244 The Devonshire Manuscript say he is gentle and courteous therewithal, and say that favel1082 hath a goodly grace in eloquence, and cruelty to name zeal of justice, and change in time and place;1083 and he that suffereth offence without blame 70 call him pitiful, and him true and plain that raileth reckless1084 to every man’s shame; say he is rude that cannot lie and feign, the lecher a lover, and tyranny to be the right of a prince’s reign. 75 I cannot, I! No, no, it will not be! This is the cause that I would never yet hang on their sleeves1085 that weigh, as thou may see, a chip of chance more than a pound of wit.1086 This maketh me at home to hunt and hawk, 80 and in foul weather at my book to sit, in frost and snow then with my bow to stalk. No man doth mark whereso I ride or go. In lusty leas1087 at liberty I walk, and of their news I feel no weal nor woe,1088 85 1089 save that a clog doth hang yet at my heel. No force for that, for it is ordered so that I may leap both hedge and ditch full well. I am not now in France to judge the wine, with savory sauce these delicates to feel,1090 90 1082. duplicity or flattery 1083. suit one’s words (or one’s judgment) to the circumstances; 1084. rants heedlessly 1085. depend in a servile manner 1086. Proverbial: Tilley, O85; ODEP, 601. 1087. pleasant meadows 1088. no joy nor grief, 1089. This seems to be a reference to Wyatt’s enforced confinement to his father’s estate at Allington Castle in Kent, after being released from prison in 1536 at the time of Anne Boleyn’s downfall. There is no equivalent in Alamanni’s poem. 1090. (to judge) with which savory sauce to taste these delicacies. D has “what,” but E’s “with” makes better sense.

The Devonshire Manuscript 245 nor yet in Spain where one must him incline,1091 rather than to be, utterly1092 to seem; I meddle not with wits that be so fine.1093 No Flander’s cheer lets not my sight to deem1094 [87r] of black and white, nor takes my wit away; 95 with beastliness, they, beasts, do esteem.1095 Nor I am not where Christ is given in prey for money, poison, and treason at Rome,1096 a common practice usèd night and day. But here I am in Kent and Christendom1097 100 among the muses where I read and rhyme. Where if thou list, my Poyntz, for to come, thou shalt be judge how I do spend my time. finis

174.1098 My mother’s maids, when they did sew or spin, they sang sometime a song of the field mouse that for because her livelode1099 was but thin would needs go seek her townish sister’s house. She thought herself endurèd too much pain,

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1091. one must apply oneself, 1092. (1) outwardly (2) sincerely 1093. I will have nothing to do with such (over) subtle people. 1094. No drunkenness prevents my differentiating (the Dutch were stereotyped as great beer drinkers). 1095. they, being beasts, judge the value of things in a beastly way. 1096. The seat of the papacy. England, under Henry VIII, had broken away from the Roman Catholic Church in 1536. 1097. Proverbial: Tilley, K16; ODEP, 420. Kent was converted to Christianity after the rest of England. 1098. Poem 174: hand 9 (for varying views on this hand, see Table of Hands). By Wyatt. A fragment only (lines 1–18). Versions of the complete poem are found in E, AH, and Tottel. The satire is based on Horace’s tale of the town and country mice in Satires 2.6. 1099. livelihood (I retain a version of the old spelling to preserve the rhythm).

246 The Devonshire Manuscript the stormy blasts her cave so sore did souse1100 that when the furrows swimmèd with the rain she must lie cold and wet, in sorry plight. And worse than that, bare meat1101 there did remain to comfort her when she her house had dight,1102 10 sometime a barley corn, sometime a bean, for which she labored hard both day and night in harvest time while she might go and glean.1103 And when her store was ’stroyed with the flood, then wellaway, for she undone was clean. 15 1104 Then was she fain to take instead of food sleep, if she might, her hunger to beguile. “My sister,” [quoth]1105 she, “hath a living good And [ … ]

175.1106 Now that ye be assembled here, all ye my friends at my request, specially you, my father dear, that of my blood are the nearest.1107 This unto you is my request:

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1100. drench 1101. scanty food 1102. made ready or stocked, 1103. gather the grains left by the reapers. 1104. glad 1105. D omits “quoth,” which is present in other versions. 1106. Poem 175: MD’s hand. The poem is probably by MD. For the events that may provide a context for this poem, see my Introduction, 14–15. Stevenson and Davidson, Early Modern Women Poets, 8, point out a number of Scotch spellings and forms (evident in the original spelling) used in the poem. MD lived in Scotland until she was thirteen. Although heavily blotted, the poem does not appear to have been composed straight into D. It may have been originally composed in the Tower of London (see line 12), where both MD and Lord Thomas Howard were imprisoned in 1536. 1107. MD’s father, the Earl of Angus, was in exile in England until 1542, although he was only intermittently at the English court; see ODNB, s.v. “Douglas, Archibald.” Her mother, Margaret Tudor, formerly Queen of Scots, remained in Scotland until her death in 1541.

The Devonshire Manuscript 247 that ye will patiently hear, by these1108 my last words expressed, my testament entire. And think not to interrupt me, for suchwise1109 provided have I that though ye willed it will not be. This tower ye see is strong and high1110 and the doors fast barred have I that no wight my purpose let should.1111 For to be queen of all Italy not one day longer live I would. Wherefore, sweet father, I you pray, bear this my death with patience and torment not your hairs grey, but freely pardon mine offence since it proceedeth of lover’s fervence1112 and of my heart’s constancy. Let1113 me not from the sweet presence of him that I have causèd to die.1114

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1108. D has “this.” 1109. in such a manner 1110. MD’s phrase may be clichéd, but it is strikingly similar to one used by Henry Howard, Earl of Surrey, in a poem, probably written in 1542, in which he described the aftermath of MD’s and Lord Thomas Howard’s betrothal; see my Introduction, 14–15. 1111. that no one may prevent my purpose. 1112. intense feelings 1113. Hinder 1114. Probably a reference to Lord Thomas Howard, who was condemned to death for his betrothal to MD. Howard died in the Tower of London in 1537 of an illness contracted because of his imprisonment; see my Introduction, 11–12.

248 The Devonshire Manuscript 176a.1115 Woman’s heart unto no cruelty inclined is, but they be charitable, piteous, devout, full of humility, shamefast, debonaire, and amiable, dreadful, and of words measurable.1116 What women these have not, peradventure followeth not the way of her nature.1117

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• 176b.1118 Is this affair avaunt?1119 Is this honor? A man himself accuse thus and defame? Is it good to confess himself a traitor, and bring a woman to slanderous name, and tell how he her body hath done shame? No worship may he thus to him conquer, but great dis-slander1120 unto him and her. To her? Nay yet was it no reproof, for all for virtue was that she wrought.1121 But he that brewed hath all this mischief, that spoke so fair and falsely inward thought, his be the slander, as it by reason ought.1122

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1115. Stanzas 176a–j: all in hand TH2. All of these stanzas are extracted from medieval poems printed in Thynne’s 1532 edition of Chaucer’s Workes, which includes poetry not by Chaucer; see Seaton, “‘The Devonshire Manuscript,’” 55–56, and Harrier, “A Printed Source,” 54. Many of these stanzas either praise women or have been adapted to praise them. Poem 176a is from Hoccleve’s Letter of Cupid (1402), lines 344–50, a translation into English of Christine of Pisan’s L’Épistre au Dieu d’amours (1399), which praises women. 1116. (1) modest. (2) measured. 1117. Lines 6–7: women who do not have these qualities do not heed their own nature. 1118. Stanzas 176b. From Hoccleve’s Letter of Cupid, lines 64–77. 1119. Is this something to boast about? 1120. disgrace or scandal 1121. Lines 8–9: By no means was it a reproof to her, for everything she did was for virtuous reasons. 1122. the disgrace be his, as it should be.

The Devonshire Manuscript 249 And unto her, thank perpetual1123 that, in such a need, help can so well. • 176c.1124 If all the earth were parchment scribable,1125 [90r] speedy1126 for the hand, and all manner wood were hewed and proportioned to pens able,1127 all water ink, in dam or in flood, every man being a perfect scribe and good, 5 1128 the faithfulness, yet, and praise of women could not be showed by the mean of pen. • 176d.1129 O marble heart, and yet more hard, perdie,1130 which mercy may not pierce for no labor, more strong to bow than is a mighty tree!1131 1123. D’s spelling, “perpetuel,” preserves the rhyme. 1124. Stanza 176c. This is an adaptation, turned to the praise of women, of a stanza from a poem called The Remedy of Love, lines 239–45, printed in Thynne’s 1532 edition of Chaucer’s Workes. This stanza was also adapted for the defense of women in the “Bannatyne Manuscript,” Edinburgh, National Library of Scotland MS, Advocates Library, 1.1.6; see F. L.Utley, The Crooked Rib. An Analytical Index to the Argument about Women in English and Scots Literature to the End of the Year 1568 (1944; repr., New York: Octagon Books, 1970), nos. 67a. The “Bannatyne Manuscript” also has examples of the stanza being used for attacks on women; see Utley, Crooked Rib, no. 118. For the formula on which this stanza is based, see Irving Linn, “If All the Sky Were Parchment,” Publications of the Modern Language Association, 53 (1938): 951–70. 1125. parchment for writing, 1126. well prepared 1127. Lines 2–3: and all kinds of wood were cut and shaped to make good pens, 1128. In the source, this line is “the cursydnesse yet and deceyte of women.” 1129. Stanza 176d. From Sir Richard Roos’s translation of “La Belle Dame Sans Merci,” lines 717–24. This, the next stanza, and 176h are the only ones expressing a traditional malevoiced blame of women. 1130. by God, 1131. more resistant to bending than a mighty tree!

250 The Devonshire Manuscript What availeth you1132 to show so great rigor? Pleaseth it you more to see me die this hour before your eyen for your disport and play, than for to show some comfort and succor to respite1133 death which chaseth me always?

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• 176e.1134 Alas! What should it be to you prejudice1135 if that a man do love you faithfully, to your worship eschewing every vice?1136 So am I yours,1137 and will be, verily. I challenge naught of right, and reason why,1138 for I am whole submit unto your service. Right as ye list it be,1139 right so will I, to bind myself where I was at liberty.1140

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1132. How does it serve you 1133. to grant (me) a reprieve from 1134. Stanza 176e. From Sir Richard Roos’s translation of “La Belle Dame Sans Merci,” lines 229–36. 1135. What harm does it do to you 1136. avoiding immoral conduct to protect your good name? 1137. Note the appearance of this conventional phrase in the scribblings by hand TH2 on page 162. 1138. I claim nothing of right, and there is good reason for it, 1139. wish it to be, 1140. The version of this line in Thynne’s 1532 edition of Chaucer’s Workes, which is the source text, is “To bynde my selfe where I was in franchise.” The word “franchise” may have been considered old-fashioned by the copyist.

The Devonshire Manuscript 251 176f.1141 How friendly was Medea to Jason in conquering of the fleece of gold; how falsely quit he her true affection, by whom victory he got as he would!1142 How may this man for shame be so bold to deceive her that from his death and shame1143 him kept and got him so great price and name?

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• 176g.1144 For though I had you tomorrow again, I might as well hold April from rain as hold you to maken steadfast.1145 Almighty God, of truth the sovereign, where is the truth of man? Who hath it slain? She that them loveth shall them find as fast as in a tempest is a rotten mast! Is that a tame beast that is aye fain to run away when he is left aghast?1146

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1141. Stanza 176f. From Hoccleve’s Letter of Cupid, lines 302–8. 1142. In the Argonautica of Apollonius, Medea helps Jason to win the golden fleece. In most versions of the myth, she is then abandoned by him. 1143. In the Thynne’s 1532 edition of Chaucer’s Workes this line is: “To falsen her that fro his dethe and shame.” The verb “falsen” may have been considered old-fashioned by the copyist; see note 1140. 1144. Stanza 176g. From Chaucer’s Anelida and Arcite, lines 308–18, spoken by Anelida, a woman. 1145. as keep you faithful. 1146. Lines 8–9: Is not that man a wild beast who is always eager to run off when there is anything to fear?

252 The Devonshire Manuscript 176h.1147 If it be so that ye so cruel be that of my death you listeth naught to reck,1148 that is so true and worthy, as ye see, no more than of a mocker or a wretch; if ye be such, your beauty may not stretch to make amends of so cruel a deed. Avisement1149 is good before the need.

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Woe worth the fair gem virtueless!1150 [91v] Woe worth that herb also that doth no boot!1151 Woe worth the beauty that is ruthless!1152 10 Woe worth that wight1153 that tread[s] each under foot! And ye that been of beauty crop and root, if therewithall in you be no ruth, then is it harm that ye liven, by my truth. • 176i.1154 For love is yet the most stormy life, right of himself, that ever was begun. For ever some mistrust or nice1155 strife there is in love, some cloud over the sun. Thereto we wretched women nothing con,1156 5 1147. Stanzas 176h. From Chaucer’s Troilus and Criseyde, bk.2, lines 337–51. The words are spoken by Pandarus in Chaucer’s text, but in D “my” in line 2 replaces Chaucer’s “his,” thus making the gender of the speaker uncertain. However, the “beauty” of the beloved conventionally suggests a male speaker. 1148. have no inclination to care, (D’s spelling, “retch,” preserves the rhyme). 1149. Heed or Consideration (the line draws on a proverb; see Tilley, T33; ODEP, 799). 1150. Gems were traditionally thought to have “virtues” or special powers. 1151. does no good! 1152. pitiless! 1153. person 1154. Stanzas 176i. From Chaucer’s Troilus and Criseyde, bk.2, lines 778–84 and 785–91. Spoken by Criseyde. 1155. foolish 1156. don’t know what to do,

The Devonshire Manuscript 253 when to us is woe, but weep, and sit, and think. Our wreak1157 is this, our own woe to drink. • Also wicked tongues been so pressed1158 to speak us harm, eke1159 men been so untrue, that right anon as ceased is their lust1160 10 1161 so ceaseth love, and forth to love anew. But ydo is done, whoso it rue.1162 For though these men for love them first to-rend,1163 full sharp beginning breaketh oft at end.1164 176j.1165 And who that saith that for to love is vice or thraldom, though he feel in it distress, he either is envious, or right nice,1166 or is unmighty for his shrewedness1167 to love. For such manner folk, I guess,

[92r]

5

1157. injury or, perhaps, revenge. 1158. eager 1159. also 1160. D’s spelling, “lest,” preserves the rhyme. 1161. forth (men go) to love anew. 1162. Proverbial: Tilley, T200; ODEP, 199. In Thynne’s 1532 edition of Chaucer’s Workes, the word “harm” is inserted before “ydo” (done). 1163. tear themselves in pieces, 1164. Proverbial: a version of Tilley, A168; ODEP, 11 (“all that is sharp is short”). F. N. Robinson, in his edition of Geoffrey Chaucer, The Works (Oxford: Oxford University Press, 1957), 820, cites a Latin equivalent. 1165. Stanza 176j. From Chaucer’s Troilus and Criseyde, bk. 2, lines 855–61. The speaker is Criseyde. 1166. foolish or ignorant, 1167. or is rendered impotent by his ill nature

254 The Devonshire Manuscript defamen1168 love as nothing of him know; they speaken, but they bent never his bow.1169 finis1170

1168. slander 1169. Proverbial: see Robinson’s edition of Chaucer’s Works, 820. 1170. Written in a sixteenth-century hand, but not that of TH2.

Bibliography Primary Works Batman, Stephen. Batman vppon Bartholome his Booke De Proprietatibus Rerum. London: Thomas East, 1582. Bèze, Théodore de. Sermons Upon the Three Chapters of the Canticle of Canticles. Translated by John Harmar. Oxford: Joseph Barnes, 1587. Castiglione, Baldassare. The Book of the Courtier. Translated by George Bull. 2nd ed. Harmondsworth: Penguin, 1976. Chaucer, Geoffrey. The Complete Works. Edited by Walter W. Skeat. Vol. 7, Chaucerian and Other Pieces. Oxford: Clarendon Press, 1894–97. _____. The Workes. Edited by William Thynne. London: Thomas Godfray, 1532. _____. The Works. Edited by F. N. Robinson. Oxford: Oxford University Press, 1957. Dowling, Maria, ed. William Latymer’s Chronicklle of Anne Bulleyne. Camden Miscellany, 39 (1990): 23–65. Elizabeth I. Collected Works. Edited by Leah S. Marcus, Janel Mueller, and Mary Beth Rose. Chicago and London: University of Chicago Press, 2000. Fox, Denton, and William A. Ringler, eds. The Bannatyne Manuscript. Facsimile edition. London: Scolar Press, 1980. Fraser, Russell A., ed. The Court of Venus. Durham, N.C.: Duke University Press, 1955. Hall, John. The Court of Virtue (1565). Edited by Russell A. Fraser. London: Routledge, 1961. Hamilton, W. D., ed. Charles Wriothesley: A Chronicle of England, 1485–1559. Camden Society, 2 vols. 2nd ser., 11 and 20 (1875, 1877). Harington, John. Nugae Antiquae: Being a Miscellaneous Collection of Original Papers in Prose and Verse, Written in the Reigns of Henry VIII, Edward VI, Mary, Elizabeth, James I., &c., by Sir John Harington. London: W. Frederick, 1769. 255

256 Bibliography Harrier, Richard. The Canon of Sir Thomas Wyatt’s Poetry. Cambridge, Mass.: Harvard University Press, 1975. Henderson, Katherine Usher, and Barbara F. McManus, eds. Half Humankind: Contexts and Texts of the Controversy about Women in England, 1540–1640. Urbana and Chicago: University of Illinois Press, 1985. Heywood, John. A Dialogue Conteinyng the Nomber in Effect of all the Proverbes in the Englishe Tongue Compacte in a Matter Concernyng Two Maner of Mariages. London: Thomas Berthelet, 1546. Holton, Amanda, and Tom McFaul, eds. Tottel’s Miscellany: Songs and Sonnets of Henry Howard, Earl of Surrey, Sir Thomas Wyatt and Others. London: Penguin Books, 2011. Howard, Henry, Earl of Surrey. Poems. Edited by Emrys Jones. Oxford: Clarendon Press, 1964. Hughey, Ruth, ed. The Arundel Harington Manuscript of Tudor Poetry. 2 vols. Columbus: Ohio State University Press, 1960. Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, 1509–1547. Arranged and catalogued by James Gairdner, J. S. Brewer, and R. H. Brodie. 21 vols. London: Longman, Green, Longman and Roberts, 1862–1932. Also available online as State Papers Online, Gale, Cengage Learning, 2011. Muir, Kenneth. Life and Letters of Sir Thomas Wyatt. Liverpool: Liverpool University Press, 1963. _____, ed. Unpublished Poems Edited from the Blage Manuscript. Liverpool: Liverpool University Press, 1961. _____, ed. “Unpublished Poems in the Devonshire MS.” Proceedings of the Leeds Philosophical Society, Literary and Historical Section 6 (1947): 253–82. Muir, Kenneth, and Patricia Thomson, eds. The Collected Poems of Sir Thomas Wyatt. Liverpool: Liverpool University Press, 1969. Nott, G. F., ed. The Works of the Earl of Surrey and Sir Thomas Wyatt. 2 vols. 1815–16. Reprint, New York: AMS Press, 1965. O’Keefe, S., ed. “T.C.D.MS.160: A Tudor Miscellany.” Master’s thesis, Trinity College, Dublin, 1986. Proctor, Thomas. A Gorgious Gallery of Gallant Inventions. London: Richard Jones, 1578.

Bibliography 257 Puttenham, George. The Arte of English Poesie, 1569. Facsimile edition. Menston, Yorkshire: The Scolar Press, 1968. Rebholz, R. A., ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. Ritchie, W. Tod, ed. The Bannatyne Manuscript. Written in Tyme of Pest, 1568. 4 vols. Edinburgh: Scottish Text Society, 1928–34. Rollins, Hyder Edward, ed. Tottel’s Miscellany. 2 vols. Cambridge, Mass.: Harvard University Press, 1965. Stevenson, Jane, and Peter Davidson, eds. Early Modern Women Poets (1520–1700): An Anthology. Oxford: Oxford University Press, 2001. Terence. Eunuchus, Heautontimorumenous, Adelphi, Hecyra, Phormio. Paris: R. Calderius and Son, 1546. Tottel, Richard, ed. Songes and Sonettes, Written by the Ryght Honorable Lorde Henry Haward, late Earle of Surrey, and Other. London: Richard Tottel, 1557. Wright, Thomas, ed. Songs and Ballades with Other Short Poems, Chiefly of the Reign of Philip and Mary. 1860. Reprint, New York: Burt Franklin, 1970.

Secondary Studies Baron, Helen. “Mary (Howard) Fitzroy’s Hand in the Devonshire Manuscript.” Review of English Studies 179 (1994): 318–35. Bates, Catherine. The Rhetoric of Courtship in Elizabethan Language and Literature. Cambridge: Cambridge University Press, 1992. Boffey, Julia. Manuscripts of English Courtly Lyrics in the Later Middle Ages. Woodbridge, Suffolk: D. S. Brewer, 1985. Bond, Edward A. “Wyatt’s Poems.” The Athenaeum 2274 (1871): 654– 55. Bryson, Anna. From Courtesy to Civility: Changing Codes of Conduct in Early Modern England. Oxford: Clarendon Press, 1998. Daybell, James. Women Letter-Writers in Tudor England. Oxford: Oxford University Press, 2006. de Boom, Ghislane. Marguerite d’Auriche-Savoie. Paris: Librairie E. Droz, 1935.

258 Bibliography Ezell, Margaret J. M. Social Authorship and the Advent of Print. Baltimore and London: John Hopkins University Press, 1999. Frye, Susan. Elizabeth I: The Competition for Representation. Oxford: Oxford University Press, 1993. Goldberg, Jonathan. Desiring Women Writing: English Renaissance Examples. Stanford, Calif.: Stanford University Press, 1997. Hanson-Smith, Elizabeth. “A Woman’s View of Courtly Love: The Findern Anthology: Cambridge University Library MS Ff.16.” Journal of Women’s Studies in Literature 1 (1979): 179–94. Harrier, Richard. “A Printed Source for ‘The Devonshire Manuscript.’” Review of English Studies 11 (1960): 54. Head, David M. “‘Beyng Ledde and Seduced by the Devyll’: The Attainder of Lord Thomas Howard and the Tudor Law of Treason.” Sixteenth Century Journal 13 (1982): 3–16. Heale, Elizabeth. “‘Desiring Woman Writing’: Female Voices and Courtly ‘Balets’ in some Early Tudor Manuscript Albums.” In Early Modern Woman’s Manuscript Writing: Selected Papers from the Trinity/Trent Colloquium, edited by Victoria E. Burke and Jonathan Gibson, 9–31. Aldershot: Ashgate, 2004. _____. “Misogyny and the Complete Gentlemen in Early Elizabethan Printed Miscellanies.” The Yearbook of English Studies 33 (2003): 233–47. _____. “Women and the Courtly Love Lyric: The Devonshire MS (BL Additional 17492).” Modern Language Review 90 (1995): 296–313. _____. Wyatt, Surrey, and Early Tudor Poetry. London: Longman, 1998. Irish, Bradley J. “Gender and Politics in the Henrician Court: The Douglas-Howard Lyrics in the Devonshire Manuscript (BL Add 17492).” Renaissance Quarterly 64 (2011): 79–114. Ives, Eric. The Life and Death of Anne Boleyn. Oxford: Blackwell, 2004. James, Susan E. “Lady Margaret Douglas and Sir Thomas Seymour by Holbein: Two Miniatures Re-identified.” Apollo Magazine 147 (1998): 15–20. Jones, Ann Rosalind. “Nets and Bridles: Early Modern Conduct Books and Sixteenth Century Women’s Lyrics.” In The Ideology of Conduct: Essays on Literature and the History of Sexuality, edited by

Bibliography 259 Nancy Armstrong and Leonard Tennenhouse, 39–72. London: Methuen, 1987. Jones, Ann Rosalind, and Peter Stallybrass. “The Politics of Astrophil and Stella.” Studies in English Literature 24 (1984): 53–68. Jones, Malcolm. “‘Such Pretty Things Would Soon Be Gone:’ The Neglected Genres of Popular Verse, 1480–1650.” In A Companion to English Renaissance Literature and Culture, edited by Michael Hattaway, 442–63. Oxford: Oxford University Press, 2000. Lerer, Seth. Courtly Letters in the Age of Henry VIII: Literary Culture and the Arts of Deceit. Cambridge: Cambridge University Press, 1997. Linn, Irving. “If All the Sky Were Parchment.” Publications of the Modern Language Association 53 (1938): 951–70. Marotti, Arthur F. “‘Love Is Not Love’: Elizabethan Sonnet Sequences and the Social Order.” English Literary History 49 (1982): 396– 428. _____. Manuscript, Print, and The English Renaissance Lyric. Ithaca and London: Cornell University Press, 1995. Remley, Paul G. “Mary Shelton and her Tudor Literary Milieu.” In Rethinking the Henrician Era: Essays on Early Tudor Texts and Contexts, edited by Peter C. Herman, 40–77. Urbana and Chicago: University of Illinois Press, 1994. Ringler, Jr., William A. Bibliography and Index of English Verse in Manuscript, 1501–1558. London: Mansell, 1992. Rollins, Hyder E. “The Troilus-Cressida Story from Chaucer to Shakespeare.” Publications of Modern Language Association 32 (1917): 383–429. Schutte, Kim. A Biography of Margaret Douglas, Countess of Lennox (1515–1578), Niece of Henry VIII and Mother-in-law of Mary Queen of Scots. Lewiston, N.Y.: Edwin Mellen Press, 2002. _____. “‘Not For Matters of Treason, But Love Matters:’ Margaret Douglas, Countess of Lennox and Tudor Marriage Law.” In In Laudem Caroli: Renaissance and Reformation Studies for Charles G. Nauert, edited by James V. Mehl, 171–87. Kirksville, LA: Truman State University Press, 1998. Seaton, Ethel. “The Devonshire Manuscript and its Medieval Fragments.” Review of English Studies 7 (1956): 55–56.

260 Bibliography Sessions, W. A. Henry Howard: The Poet Earl of Surrey: A Life. Oxford: Oxford University Press, 1999. Shire, Helena Mennie. Song, Dance, and Poetry of the Court of Scotland Under King James VI. Cambridge: Cambridge University Press, 1969. Siemens, Ray, Johanne Paquette, Karin Armstrong, Cara Leitch, Brett D. Hirsch, Eric Haswell, and Greg Newton. “Drawing Networks in the Devonshire Manuscript (BL Add 17492): Toward Visualizing a Writing Community’s Shared Apprenticeship, Social Valuation, and Self-Validation.” Digital Studies / Le champ numérique 1, no. 1 (2009). http://www.digitalstudies.org. Smith, William George. The Oxford Dictionary of English Proverbs. 3rd ed. revised by F. P. Wilson. Oxford: Clarendon Press, 1970. Southall, Raymond. The Courtly Maker: An Essay on the Poetry of Wyatt and his Contemporaries. Oxford: Basil Blackwell, 1964. _____. “Mary Fitzroy and ‘O Happy Dames’ in the Devonshire Manuscript.” Review of English Studies 179 (1994): 316–17. Stevens, John. Music and Poetry in the Early Tudor Court. London: Methuen and Co., 1961. Tilley, M. P. A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries. Ann Arbor: University of Michigan Press, 1950. Utley, F. L. The Crooked Rib: An Analytical Index to the Argument about Women in English and Scots Literature to the End of the Year 1568. 1944. Reprint, New York: Octagon Books, 1970. Wall, Wendy. The Imprint of Gender: Authorship and Publication in the English Renaissance. Ithaca, NY: Cornell University Press, 1993. Warnicke, Retha M. The Rise and Fall of Anne Boleyn. 2nd ed. Cambridge: Cambridge University Press, 1991. Woodbridge, Linda. Women and the English Renaissance: Literature and the Nature of Womankind, 1540–1620. Brighton, Sussex: Harvester Press, 1984.

Index of First Lines First Line

Poem Number

Absence absenting causeth me to complain 165 Ah, my heart, ah, what aileth thee 154 Ah well, I have at other lost 37 Alas poor man, what hap have I 21 Alas that men be so ungent 44 Alas! What should it be to you prejudice 176e All in thy sight my life doth whole depend 108 All women have virtues noble and excellent 26 And now my pen, alas, with which I write 48 And sure, I think, it is best way 34 And this be this ye may 66 And who that saith that for to love is vice 176j And wilt thou leave me thus 23 As for my part I know no thing 62 As power and wit will me assist 29 At last withdraw your cruelty 5 At most mischief 16 Behold, Love, thy power how she despiseth Blame not my lute for he must sound Bound am I now and shall be still

109 98 11

Caesar, when the traitor of Egypt Comfort thyself, my woeful heart Cruel desire, my master and my foe

112 133 127

Deem as ye list. Upon good cause Divers doth use, as I have heard and know Driven by desire, I did this deed Each man tells me I change of my device

171 149 163

261

143

262 Index of First Lines Fancy framed my heart first 95, 95a Farewell all my welfare 12 For love is yet the most stormy life 176i For thilke ground that beareth the weeds wicked 91 For though I had you tomorrow again 176g For to love her for her looks lovely 139 Forget not yet the tried intent 80 Fortune doth frown 153 Full well it may be seen 73 Give place all ye that doth rejoice Go, burning sighs, unto the frozen heart Greeting to you both in hearty wise Grudge on who list, this is my lot

148 94 156 152

Hate whom ye list for I care not 155 Heart oppressed with desperate thoughts 71 Hey Robin, gentle Robin 36 Hey Robin, jolly Robin 39 How friendly was Medea to Jason 176f How should I 64, 147 I abide, and abide, and better abide 164 I am as I am and so will I be 172 I am not dead although I had a fall 135 I am not she by proof of sight 100 I find no peace and all my war is done 166 I have sought long with steadfastness 116 I love loved and so doth she 7 I may well say with joyful heart 46 I see the change from that that was 60 If all the earth were parchment scribable 176c If chance assigned 113 If fancy would favor 53 If I had suffered this to you unware 14 If in the world there be more woe 78 If it be so that ye so cruel be 176h

Index of First Lines 263 If reason govern fantasy 68 If that I could in verses close 97 If with complaint the pain might be expressed 126 In eternum I was once determined 124 In faith, methinks, it is no right 33 In places where that I company 96 Is it possible 19 Is this affair avaunt? Is this honor 176b It was my choice, it was my chance 40 It was my choice, it was no chance 49 Lament my loss, my labor, and my pain 145 Like as the swan towards her death 125 Lo, how I seek and sue to have 75 Lo, in thy haste thou hast begun 88 Longer to muse 159 Love doth again 160 Marvel no more although 22 May not this hate from thee astart 13 Me list no more to sing 137 Might I as well within my song belay 101, 103 Mine own John Poyntz, since ye delight to know 173 Mine unhappy chance, to whom shall I plain 93 My fearful hope from me is fled 9 My heart I gave thee not to do it pain 3, 141 My heart is set not to remove 86, 99 My hope, alas, hath me abused 136 My hope is you for to obtain 82 My love is like unto th’eternal fire 76 My love took scorn my service to retain 157 My lute awake, perform the last 20 My mother’s maids, when they did sew or spin 174 My pen take pain a little space 4 My youthful days are past 106 Nature, that gave the bee so feat a grace

117

264 Index of First Lines Now all of change 162 Now farewell, Love, and thy laws forever 138 Now may I mourn as one of late 41 Now must I learn to live at rest 79 Now that ye be assembled here 175 O cruel causer of undeserved change 2 O happy dames that may embrace 81 O heart oppressed 71a O marble heart, and yet more hard, perdie 176d O miserable sorrow withouten cure 84 Once, me thought, fortune me kissed 119, 132 Pain of all pain, the most grievous pain 144 Patience for I have wrong 167 Patience for my device 115 Patience of all my smart 31 Patience though I have not 18 Perdie, I said it not 114 Resound my voice, ye woods, that heareth me plain

120

She sat and sewed that hath done me the wrong Since love is such that, as ye wot Since so ye please to hear me plain Since ye delight to know Since you will needs that I shall sing So feeble is the thread that doth the burden stay So unwarely was never no man caught Some say I love, some say I mock Sometime I fled the fire that me brent Sometime I sigh, sometime I sing Spite hath no power to make me sad Such vain thought as wonted to mislead me Suffering in sorrow in hope to attain

128 74 77 122 131 72 51 85 57 30 151 50 8

Take heed betime least ye be spied

1

Index of First Lines 265 Tangled I was in love’s snare That time that mirth did steer my ship The fruit of all the service that I serve The heart and service to you proffered The joy so short, alas, the pain so near The knot which first my heart did strain The lively sparks that issue from those eyes The loss is small to lose such one The pleasant beauty of sweet delight doth blind The restful place, reviver of my smart The sudden glance did make me muse The wandering gadling in the summer tide There is no cure for care of mind They flee from me that sometime did me seek This rooted grief will not but grow Thou hast no faith of him that eke hath none Though I cannot your cruelty constrain Thy promise was to love me best To cause accord or to agree To counterfeit a merry mode To joy in pain, my will To make an end of all this strife To men that knows ye not To my mishap, alas, I find To rail or jest ye know I use it not To wet your eye withouten tear To wish and want and not obtain To your gentle letters an answer to recite Too dear is bought the doubleness

158 24 121 15 142 35, 38, 52 55 150 104 25 105 54 61 111 70 110 56 59 107 102 67 169 92 63 140 6 118 47 90

Venomous thorns that are so sharp and keen

123

Was never yet file half so well filed What death is worse than this What helpeth hope of happy hap What meaneth this when I lie alone What needeth life when I require

28 58, 134 69 17 65

266 Index of First Lines What no perdie, ye may be sure 27 What should I say 146 What thing should cause me to be sad 43 When I bethink my wonted ways 83, 87 When that I call unto my mind 168 Who hath heard of such tyranny before 129 Who hath more cause for to complain 45 Who would have ever thought 32 Will ye see what wondrous love hath wrought 170 Wily no doubt, ye be awry 89 With serving still 161 With sorrowful sighs and wounds’ smart 42 Woman’s heart unto no cruelty 176a Ye know my heart, my lady dear Your fearful hope cannot prevail

130 10

Index Page, note, and line numbers are given in normal print, while poem numbers are in bold. Except in main headings, The Devonshire Manuscript is abbreviated as D. Aeneid, The, 113n316 Alamanni, Luigi, 241n1062; satire by Wyatt based on poem by, 173 Angus, 6th Earl of. See Douglas, Archibald annotations and jottings in Devonshire Manuscript: discussed in Introduction, 10–11, 15, 16, 17, 24, 33, 34, 36, 45, 46, 47; nostalgic jottings by hand 7, 17, 30, 163–64; riddling jottings by hand TH2, 46, 162; other words and comments by various hands, 77, 121, 149, 156, 167, 175. See also Devonshire Manuscript: marginal marks in; Douglas, Margaret: marginal annotations by; Shelton, Mary: marginal comments by Apollonius, Argonautica, 251n1142 Aristotle, Ethics, concept of the “mean” in, 127n380, 239n1053, 243n1080

Arundel Harington Manuscript, The (AH), 23n53, 49–50; poems in D with versions in, 3, 18, 26, 28, 50, 53, 55–57, 71–72, 92, 115, 118, 128–29, 136, 138, 141, 143, 162, 173–74 balets, 5, 7, 11, 24. See also courtly verse; music Baron, Helen, 3nn4 and 6, 9n21, 18, 30, 31–32, 96n222, 131n404, 160n592; identification of hands by, 8n20, 14, 31, 45–48, 147n502, 149n516 Bates, Catherine, 5n12 Batman, Stephen, 162n603 Bembo, Pietro, 56n20 Bèze, Théodore de, 109n303 Bible, allusions to, 152n537, 174n662 Boffey, Julia, 19n45, 25n59 Boleyn, Queen Anne, 4, 115n327; court of, 4–8, 11, 23, 24; fall of, 6–8, 11, 12, 17, 28–29, 244n1089; relationships to women using D, 5, 9–10, 11, 12, 15; 267

268 Index and Wyatt, 6, 7, 115n327, 244n1089 Boleyn, George, Earl of Rochford (Queen Anne Boleyn’s brother), 5, 6, 7 Bond, Edward A., 13, 31, 62n57, 97n230 Bryson, Anna, 5n12 Caesar, Julius, 170n643, 242n1072 Castiglione, Baldassare. See Courtier, The Book of the Cato the Younger, 242n1072 Chaucer, Geoffrey, 13n30, 229n987, 243n1077; Anelida and Arcite, 26, 176g; Troilus and Criseyde, 13, 26, 48, 91, 176h–j; use of The Workes (1532) by hand TH2, 13, 26–27, 28–29, 48, 91, 152n537, 248n1115, 176a–j; verses adapted to defend women, 26–29. See also Letter of Cupid; Remedy of Love; Roos, Sir Richard Christine of Pisan. See Letter of Cupid Claude, Queen of France, court of, 4 Clere, Thomas, 16, 18 Cornish, William, 25, 95n215 Court of Venus, The, 49; poems in D with versions in, 4, 20, 22, 53, 155 Court of Virtue, The, 158n578

Courtier, The Book of the, by Baldassare Castiglione, 2, 2nn2–3, 4, 7 courtly love, 5, 6, 7, 12–13, 15, 29 courtly pastime, 4–8, 15, 25; and composition of verse, 15, 19, 22–24; and jesting attacks on and defense of women, 25–29; and use of manuscript albums, 6, 8, 8n19, 9, 19, 36, 80n136 (see also under Devonshire Manuscript: as album of verse). See also music courtly verse at the Henrician court: composition of, 19–24, 37; influence of, 3; social context of, 4–8, 19, 22–23, 31; and women, 3, 4–5, 7, 20–23, 24–30. See also under courtly pastime; Devonshire Manuscript; music; names of individual poets Darnley, Henry Stewart, Lord, 8, 35, 46, 147nn502–3; poem by, 82 Darrell, Elizabeth, 133n407 Davidson, Peter. See Stevenson, Jane Daybell, James, 8n21 Devonshire Library at Chatsworth, 2n4, 10, 30 Devonshire Manuscript, The: as album of verse, 8–10,

Index 269 30, 34, 36; attribution of authorship within, 18–19, 23, 52n1, 62n56, 93n207 (see also Hattfield, Richard; Howard, Thomas; Knyvett, Sir Edmund; Lee, Sir Anthony; Wyatt, Sir Thomas); binding of, 9, 10, 30, 31, 33; Chaucerian borrowings in, 13, 26–27, 28–29 (see also Chaucer, Geoffrey); defense of women stanzas in, 25–27, 29, 176a–j (see also female-voiced poems in Devonshire Manuscript); digital edition of, 32; drawings in, 36, 27, 129, 167; drypoint writing and marks in, 33; handwriting of women in, 3, 3n6, 8, 9, 21, 32, 40, 45 (see also under Douglas, Margaret; Fitzroy, Mary (Howard); Shelton, Mary); identification of handwriting in, 3, 3n6, 8n20, 13–14, 23n54, 26, 31–32, 36n82, 45–48; importance for understanding Henrician courtly verse, 1–4, 7, 15, 18–20, 22–23; marginal marks in, 33, 34, 36, 126n376; misogynist poems in, 7, 23, 25–29, 91n192, 208n865; names of women in, 8n20, 9, 12, 15, 16, 17, 22n52, 60, 93, 99, 163–64; names on flyleaf of,

12, 14, 15, 31, 38 (plate 1b); ownership of, 1, 2n4, 9–10, 30–31; poems on “patience” in, 18, 72n102, 31, 115, 175n663, 167; punctuation in, 34–35; uncertain chronological sequence of, 8; variety and skills of copyists, 8, 19, 45–48; women’s use of, 1–4, 6, 7–18, 19–23, 24, 25–30, 31–32, 36. See also annotations and jottings in Devonshire Manuscript; female-voiced poems in Devonshire Manuscript; musical allusions and imagery; mythological allusions; spelling. See also under names of individual contributors Douglas, Archibald, 6th Earl of Angus, 9, 246n1107 Douglas, Margaret: attendance on Anne Boleyn, 5, 10; betrothal to Thomas Howard and its aftermath, 7, 11–15, 17–18, 23, 24, 30, 31, 41–48, 97n231, 99n240, 163n612, 175; and Charles Howard, 10n24; corrects verse copied by others, 45, 53n5, 54n10, 147n500, 160n592; enjoyment of verse in D, 10–11, 15, 16, 19, 22–23, 29–30, 32–33, 36; family affiliations, 9–10, 11–12, 14; friend-

270 Index ship with Mary Fitzroy and Mary Shelton, 1, 5, 9–10, 15–16, 17–18, 29–30, 34; handwriting, appearance of, 8, 21, 40, 41, 124n370; handwriting, identification of, 3n6, 8n20, 32, 36n82, 45; imprisonment of, 11–12, 97n231; marginal annotations by, 10–11, 15, 16, 24, 36, 45, 56, 59, 65, 69, 72, 74, 79, 95, 162n602, 173, 176, 181, 183, 185, 189, 213, 223, 227; marriage to Earl of Lennox, 10, 18, 30; name in D, 12, 17, 31, 99n241, 164; ownership of D, 1, 9, 10, 14, 30; poems copied by, 10, 19, 20–21, 28, 45–47 (listed), 119n351, 160n591; poems probably composed by, 12–13, 14–15, 20–21, 22, 29, 32, 46, 65 (partially), 105, 175; possible process of composition by, 16, 20–21, 22–23; Roman Catholic faith of, 30n69; scholarly recognition of role in D, 31, 32; Scots orthography of, 20n49, 32, 147n503, 148n508, 246n1106; sons, 8, 10, 147n502; spelling of, 60n47, 155n560, 156n568; use of pencil or lead marker, 59n39, 149nn513 and 519, 86

editorial principles and practices in this edition, 3n7, 33–37. See also under spelling Egerton Manuscript, The (E): Sir Thomas Wyatt’s personal manuscript, 19, 37. For poems in D with versions in, see Wyatt, Sir Thomas: poems in D Elizabeth I, 5n10, 6, 66n78 Ezell, Margaret J. M., 19n45 female-voiced poems in Devonshire Manuscript, 16–18, 20–22, 26, 28, 29–30, 10, 12, 46, 65, 81, 86, 99, 100, 105, 106, 175n663, 152, 176a–b, 176f–g, 176i–j Findern Manuscript, The, 1n1 Fitzroy, Henry, Duke of Richmond, 9, 17, 163n612 Fitzroy, Mary (Howard), Duchess of Richmond: attendance on Anne Boleyn, 5, 10, 15; copy of “O happy dames” by, 9, 17–18, 30, 31n74, 43, 81; handwriting of, 3n6, 8n20, 9n21, 17, 31–32, 31n74, 43, 45, 145n492; and Margaret Douglas and Mary Shelton, 9–11, 17–18, 29–30, 60n47; marriage and kinship affiliations, 7, 9, 11, 14, 16, 17, 23, 151n533; name in D, 9,

Index 271 17, 30–31, 163n612, 164; ownership of D, 1, 9, 30; reformed faith of, 30n69; tribulations after death of husband, 17, 17n40, 30, 163n612 Frye, Susan, 5n10 Goldberg, Jonathan, 18n41 Gorgious Gallery of Gallant Inventions, A, by Thomas Proctor, 16n39, 164nn615– 17, 237n1041, 238n1048 Gosynhill, Edward, 25 Hannibal (Carthaginian general), 170n644 Hanson-Smith, Elizabeth, 2n1 Harrier, Richard, 13n30, 31, 37n84; editorial suggestions by, 52n1, 60n47, 62n57, 85n166, 90n190, 91n192, 96n222, 162n606, 167n620, 248n1115; views on hands in D, 19n46, 31, 45–48 Hattfield, Richard, 25, 39, 26 Head, David M., 11n26 Heale, Elizabeth, 3n6, 18nn41– 42, 21n50, 27n62, 32 Henderson, Katherine Usher, 25n58 Henrician court, 1–2, 9, 27–28, 32. See also Boleyn, Queen Anne: court of; courtly pastime; courtly verse Henry VIII, 4, 18, 30n69; and affair of Margaret Doug-

las and Thomas Howard, 11–12, 11n26; and fall of Anne Boleyn, 6; musicianship, 24n56, 95n215; relationship with women using D, 9–10, 15; religion, 240n1058, 245n1096; and Wyatt, 115n327, 136n438 Heywood, John, 217n921, 219n936 Hoccleve, Thomas. See Letter of Cupid Horace (Roman poet), 245n1098 Howard, Charles, 10n24 Howard, Henry, Earl of Surrey: and D, 2, 3n5, 9, 14; echoes poem by Margaret Douglas, 14–15, 247n1110; echoes poem by Wyatt, 113n316; epitaph on Thomas Clere, 15–16; and Mary Shelton, 15–16, 18; “O happy dames,” 3n4, 9, 17–18, 25, 31, 81; relationship to Mary (Howard) Fitzroy and Thomas Howard, 9, 14 Howard, Queen Katherine, 10n24 Howard, Mary. See Fitzroy, Mary (Howard), Duchess of Richmond Howard, Thomas: betrothal to Margaret Douglas, 7, 11–12, 97n232, 99n240, 104n271; and hands TH1 and TH2, 13–14, 26, 31, 38,

272 Index 44, 45–46, 97n230; imprisonment and death of, 11–12, 14, 17, 97nn230–31, 163n612, 246n1106, 247nn1110 and 1114; poems ascribed to, 14, 52n1, 68, 70; poems composed by, 11, 12–15, 23–24, 52n1, 41–45, 47, 67–70; poems relating to betrothal to Margaret Douglas, 12–13, 15, 20n49, 31, 41–48, 70, 175; possible fondness for Chaucer’s Workes, 13–14, 26, 104n265, 105n278; relationship to Mary (Howard) Fitzroy and Henry Howard, 7, 11, 14–15 Iliad, The, 173n660 Irish, Bradley J., 11n26, 20n49 Ives, Eric, 4n9, 6nn14–15 James IV, King of Scots, 10 James V, King of Scots, 10 Jones, Ann Rosalind, 2n3, 27n63 Jones, Malcolm, 26n60 Kenninghall (Howard family home), 10 Knyvet, Sir Edmund, 16, 17, 22n51, 23, 151n533; poems attributed to, 89, 152n543, 97

Latymer, William, Chronicklle, 6–7 Lee, Sir Anthony: family affiliations of, 23, 66n78; poems attributed to, 23, 13, 34, 91n197 Lennox, Countess of. See Douglas, Margaret Lennox, Earl of. See Stewart, Matthew Lerer, Seth, 13n30, 26n61 Letter of Cupid, 26; extracts from, 176a–b, 176f Linn, Irving, 249n1124 Livy (Roman historian), 173 line 40 Lucrece, 144 lines 31–37, 204n845 manuscripts containing versions of poems also in Devonshire Manuscript: BL, Add. 17802–5, 123n366; BL, Add. 18752, 85n166; BL, Add. 30513, 145n492; BL, Add. 31922 (King Henry VIII’s MS), 95n215; BL, Add. 36529, 113n316, 183n711, 194n770, 231n1002, 241n1062; BL, Harley 78, 115n327, 145n492, 177n681, 183n711; BL, Royal Appendix 58, 67n83, 123n366; BL, Sloane 3501, 158n578; Cambridge, Corpus Christi 168, 241n1062, 242n1070;

Index 273 Cambridge, Magdalene College, Pepysian Library 2553 (The Maitland Folio MS), 82n146; Cambridge University Library, Ff.5.14, 183n711, 241n1062; Columbia University, Plimpton 276, 121n356; Folger, V.a.159, 158n578; National Library of Scotland, Adv.1.1.6 (The Bannatyne MS), 239n1049, 249n1124; Oxford, Ashmole 48, 121n356; University of Pennsylvania, Latin 35, 239n1049; Yale University, Osborn music 13, 173n654. See also Arundel Harington Manuscript, The; Egerton Manuscript, The; Trinity College, Dublin, MS 160 Margaret of Austria, 4, 5n10 Margaret (Tudor), Queen of Scots, 9–10, 11n26, 246n1107 Marotti, Arthur F., 18n45, 19–20, 27n63 Mary, Queen of Scots, 8, 147n502 McManus, Barbara F., 25n58 Muir, Kenneth, 7n18, 31, 133n407; editor with Patricia Thomson of Wyatt’s Collected Poems), 2n4, 49; editorial suggestions by, 91n192, 129n389, 150n522,

151n528, 153n547, 154n554, 160n588, 163nn607–8; editorial suggestions made with Patricia Thomson (M&T), 56n20, 85n166, 91n197, 95n215, 113n316, 115n327, 133n407, 192n757, 207n859, 211nn880 and 883, 219nn941 and 943, 227n969, 229nn982 and 987, 236n1036. See also poems listed under Petrarch, Serafino, and Alamanni, for which M&T provide sources music, 5, 24n56, 36n83; poems with musical settings, 18, 24–25, 14, 82n146, 95n215, 123n366, 81, 98, 114; popular tune names added to poems, 5, 24, 25n57, 77n123, 227n969; singing, 5, 6, 8, 10–11, 18, 24–25, 36, 95n215, 158n578, 227. See also Cornish, William; musical allusions and imagery; Smeton, Mark musical allusions and imagery, 24; poems containing, 12, 16, 20, 22, 30, 31, 38, 52, 72 (lines 85, 95), 98, 101, 103, 114 (line 30), 125, 128, 131, 136, 137, 147 (line 52), 148, 150 (line 49), 151 (line 25), 162, 167, 173 (lines 19, 49), 174

274 Index mythological allusions, 104n268, 133n409, 134n420, 135n431, 82 line 8, 168n631, 176n675, 181n704, 127 line 1, 187n732, 199n804, 203n836, 230n995, 242n1068, 243n1076, 251n1142 Norris, Sir Henry, 6 Nott, G. F., 2n4, 9n22, 30–31 Nugae Antiquae, compiled by John Harington, 50; poems in D with versions in, 20, 22, 54, 81, 119, 123, 132, 135 Ovid (Roman poet), 145n492, 197n787 Petrarch, Frances, Rime, 27; poems in D based on poems by, 25, 50, 55, 72, 94, 109, 112, 114, 145, 166, 170 Pliny (Roman writer), 162n603 Pompey the Great, 170n643 Powell, Jason, 33 Poyntz, John, 241n1063 proverbs, use of, 22, 27–28, 54n14, 65n70, 74n111, 85n165, 86n173, 89n185, 91n193, 116n331, 125n372, 131n399, 149n518, 153n548, 161nn598–99, 168n635, 176n674, 177n679, 194n771,

195n773, 198n797, 199n805, 201n820, 215n910, 217n921, 218nn925, 928–29, and 932–34, 219nn936–37, 221nn950–51, 222n953, 227n974, 229nn985 and 987, 232n1007, 241n1066, 244n1086, 245n1097, 252n1149, 253nn1162 and 1164, 254n1169 Ptolemy, King of Egypt, 170n643 Puttenham, George, The Arte of English Poesie, 3, 243n1081 Pythagoras, 190n747 Rebholz, R. A., 50; editorial suggestions by, 89n187, 96n220, 121n356, 175n663, 177n683, 197n791, 204n842, 207nn859 and 862–63, 209n869, 217n921, 219n940 Remedy of Love, The, 27, 249n1124; stanza extracted from, 176c Remley, Paul G., 15nn35–36, 32, 99n241 Richmond, Duchess of. See Fitzroy, Mary (Howard) Richmond, Duke of. See Fitzroy, Henry Ringler, William A., Jr., 1n1 Rochford, Earl of. See Boleyn, George

Index 275 Robinson, F. N., 253n1164, 254n1169 Rollins, Hyder E., 15n34, 145n492, 170n643. See also Tottel’s Miscellany Roos, Sir Richard, verses in D extracted from “La Belle Dame Sans Merci,” 176d–e Schutte, Kim, 10n24, 11n26 Seaton, Ethel, 13n30, 105n276, 248n1115 Serafino Aquilano, poems in D based on poems by, 3, 18, 81, 108, 120, 123, 135, 141, 158 Sessions, W. A., 3n5, 9, 11n26, 18n43 Shelton, Mary: acrostic addressed to, 16, 23, 8; adaptation and possible composition of verse by, 15, 16–17, 18n41, 19, 20, 21–23; adaptation of “My youthful days are past” by, 16–17, 30, 37, 106; attendance on Anne Boleyn by, 5, 6–7, 9, 15; contributions to D, 1, 9, 16, 19, 20, 22, 29, 32; court gossip about, 6–7, 7, 15; family affiliations and marriage of, 15–16, 22n51, 23, 151n533; fondness for doggerel verse, 22; friendship with Margaret Douglas and Mary Fitzroy, 1, 5, 10, 15, 16, 17, 29–30,

34; handwriting of, 3n6, 8n20, 18n41, 32, 41–42, 45; marginal comments by, 16, 22, 36, 45, 59–60, 161, 163; name in manuscript, 15, 22n52, 31, 60, 93, 99n241; poetry copied into manuscript by, 10, 16, 19, 21–23, 28, 45 (listed); spelling of, 8, 60n47, 161n598, 166n615; and Thomas Clere, 15–16, 18 Shire, Helena Mennie, 36n83 Shulman, Nicola, 32 Siemens, Raymond G. (Ray), 32, 36n82, 96n222 Sion Abbey, 12, 97n231 Smeton, Mark, 6, 24 song. See music; singing Songes and Sonettes, The. See Tottel’s Miscellany Souche, Mary, 78n129 Southall, Raymond, 3n5, 9n22, 10, 31, 32, 36n82, 96n222, 162n606 spelling, 3n7, 32, 59nn40 and 44, 115n326, 156n571; editorial use of modern, 33, 34, 35, 245n1099; effect on rhymes of modern, 115n329, 143n480, 151n536, 181n702, 194n767, 209n871, 210n874, 230n995, 249n1123, 252n1148, 253n1160; evidence of Scottish, 20n49, 147n503,

276 Index 148n508, 246n1106; of women using manuscript, 8, 60n47, 155n560, 156n568, 160n588, 161n598, 164n615, 166n615. See also under Douglas, Margaret; Shelton, Mary Stallybrass, Peter, 27n63 Stevens, John, 1n1, 5nn11–12, 24n56, 25n57, 82n146, 95n215 Stevenson, Jane, 20n49, 32, 163nn607–8, 246n1106 Stewart, Charles, younger son of Margaret Douglas, 10 Stewart, Elizabeth (Cavendish), daughter-in-law of Margaret Douglas, 10 Stewart, Henry, Lord Darnley. See Darnley, Henry Stewart, Lord Stewart, Matthew, Earl of Lennox, 10, 18, 147n502 Stuart, Arabella, 10 Tarquin (Sextus Tarquinius). See Lucrece. Terence (Roman playwright), 162n601, 204n842 Thomson, Patricia. See under Muir, Kenneth Tilley, M. P., 27n64, 50. For citations, see under proverbs Twelfth Night (Feste’s song), 25, 95n215

Tottel’s Miscellany, 3, 5n8, 14n33, 78n129, 168n629; poems in D with versions in, 3, 20, 22, 25, 28, 50–51, 54–55, 57, 63, 72, 81, 94, 106, 108–109, 111–12, 114, 117, 119–20, 123, 127–29, 132, 135, 138, 141, 143, 157, 163, 166, 173–74; and versions of “My youthful days are past,” 16–17, 164nn615–17 Tottel, Richard. See Tottel’s Miscellany Tower of London: and Anne Boleyn’s fall, 6, 7, 11; and imprisonment of Margaret Douglas and Thomas Howard, 7, 11, 12, 14, 97nn230–231, 246n1106, 175, 247n1114; poems between Margaret Douglas and Thomas Howard exchanged in, 11–13, 23, 41–48 trenchers, (decorated with verses), 25–26 Trinity College, Dublin, MS 160 (B), 49; poems in D with versions in, 2, 5–6, 8, 16, 18, 20, 24, 28, 38, 52, 63, 101, 114, 115, 117, 122, 125, 133, 154, 155, 160, 161, 163, 172 Utley, F. L., 249n1124

Index 277 Warnicke, Retha M., 6n14 Weston, Sir Francis, 6 women. See under courtly verse; Devonshire Manuscript; female-voiced poems in Devonshire Manuscript; spelling; names of individual women Woodbridge, Linda, 25n58, 27, 28 Wriothesley, Charles, A Chronicle of England, 14n32 Wyatt, Sir Thomas: association with Anne Boleyn, 6–7, 115n327, 244n1089; association with contributors to D, 23, 66n78; D and social context for poetry of, 2, 31; D as a source for poems of, 1, 2–3n5, 30–31, 33; and Egerton Manuscript, 19, 37, 166n620; embassy to Spain of, 133n407, 136n438; misogynist themes in poems of, 27–28; name used as a cipher, 96n222, 121n356; poems in D by, 19, 25, 27, 37, 47, 2–3, 14, 16, 17–20, 22–23, 25, 27–28, 39, 50–51, 53, 54–58, 72, 78, 94, 98, 107–20, 122–25, 127–30, 132–36, 138–39, 141, 143, 166, 173–74; poems in D possibly by, 1, 121, 126, 131, 137, 140, 142, 157, 163; popularity of poems, 19, 27