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- The ‘Answer’, which Walton also cited in his *Compleat Angler*, he drew from *England’s Helicon*, and gave it the new title ‘The Milkmaid’s Mother’s Answer’. In the second edition of his *Compleat Angler* he added as in the former case a seventh stanza. Of the second poem Walton wrote that it ‘was made by Sir Walter Raleigh in his younger days’. The two pieces, Walton adds, ‘were old-fashioned poetry, but choicely good’.
No. XII.
The lyric ‘Crabbed age and youth’, which fills the twelfth place in *The Passionate Pilgrim*, obtained little less popularity in Elizabethan England than ‘Come live with me and be my love’. It was probably in print before Jaggard designed his miscellany. It forms with textual variations the first two stanzas of a long lyric of over one hundred lines in Deloney’s *Garland of Good Will*. That anthology, which was of the normal type, was, according to Nashe’s *Have with you to Saffron-Walden*, in existence in 1595.¹ But no earlier edition than that of 1604 is now extant. The *Garland of Good Will* was repeatedly reissued during the seventeenth century, and the song ‘Crabbed age and youth’
¹ Nashe wrote in 1595 (cf. his *Works*, ed. McKerrow, iii. 84): ‘Euen as Thomas Deloney the Balletting Silke-weauer hath rime inough for all myracles, & wit to make a Garland of good will.’ Deloney died in 1600. Thomas Pavier, the publisher, received on March 1, 1602, an assignment of the copyright ‘uppon condicon that yt be no others mans copie’; cf. Arber, iii. 202. Nevertheless Edward White published the edition of 1604.
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THE PASSIONATE PILGRIM 39
was reprinted with frequent alterations and additions. Jaggard’s version was again drawn from a ‘private’ copy other than that used by Deloney in any extant edition. Jaggard’s text is here the better. Line 4 in Jaggard’s text, ‘Youth like summer braue, Age like winter bare,’ is omitted by Deloney. In line 6 Jaggard reads ‘Youth is nimble’ for Deloney’s ‘Youth is wild’, and in line 10 ‘my loue is young’ for Deloney’s ‘my lord is young’. ‘Crabbed age and youth’ was set to music early, but the original air has not survived.¹
‘It was a Lording’s daughter,’ a ballad or song for music, No. XV. opens the appended ‘Sonnets To sundry notes of Musicke’, and fills the fifteenth place in the miscellany. Nothing has been discovered respecting it. It narrates the struggle of a man of arms (an Englishman) with a tutor or man of learning for the hand of ‘a Lording’s daughter’, with the result that ‘art with armes contending was victor of the day’. It is in the vein of Deloney’s ballads and may possibly be from his somewhat halting pen.
The remaining five poems, numbered respectively VII, X, XIII, XIV, XVIII, are all in six-lined stanzas, the metre of Shakespeare’s Venus and Adonis. They occupy ten of the thirty-one printed pages of the volume, and confirm the impression given by the four ‘Venus and Adonis’ sonnets, that Jaggard and Leake were anxious to bring their venture into close touch with Shakespeare’s earliest poem. The metre is
¹ Dramatists make frequent reference to the song. William Rowley notes in his play A Match at Midnight (1633), how ‘the Widdow and my sister sung both one song, and what was’t but Crabbed age and youth cannot live together?’ (Act v, Sc. 1 (4to), Sign. I 2, back). John Ford imitated the song in his Fancies (Act iv, Sc. 1) in the lines:—
Crabbed age and youth
Cannot jump together;
One is like good luck,
T’other like foul weather.
The piece was included in Percy’s Reliques (ed. Wheatley, i. 237).
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40 THE PASSIONATE PILGRIM
not peculiarly Shakespearean. It is constantly met with not merely in contemporary narrative poetry, but in ballads and lyrics of the popular anthologies, as well as in ‘words’ for madrigals and part-songs in song-books.¹ But Shakespeare’s *Venus and Adonis* was the most notable example of its employment within Jaggard’s and Leake’s experience.
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