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- It may be assumed, although the indications are obscure, that despite its equivocal claims to respectful notice, Jaggard’s venture met with success. There is small doubt that the compiler of the popular anthology called *England’s Helicon*, which appeared next year, was influenced by the example of the publisher of *The Passionate Pilgrim*. The former printed four of Jaggard’s ‘Sonnets To sundry notes of Musicke’, viz. XVI, ‘On a day, alack the day’, from *Love’s Labour’s Lost*; XVII, Barnfield’s ‘My flocks feed not’; XIX, Marlowe’s lyric with the reply; XX, Barnfield’s ‘As it fell upon a day’. Although the editor of *England’s Helicon* depended in most cases on different transcripts, the coincidence of his choice and the order which he followed in introducing these four pieces to his reader can hardly be regarded as fortuitous.
No copy of a second edition of *The Passionate Pilgrim* is extant, and there is no clue to the date of its issue.¹ The poet Drummond of Hawthornden noted that he read the book in 1606, possibly in a second edition. A third edition source, a Latin quotation from Ovid’s *Fasti*, ii. 771–4, which describes Tarquin’s admiration of Lucrece’s beauty. Shakespeare’s poem of *Lucrece* no doubt suggested to Barnfield the transcription of these lines.
¹ See p. 48, *infra*.
Popularity of Jaggard’s miscellany.
The lost second edition.
The third edition.
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46 THE PASSIONATE PILGRIM
1 Arber, iii. 397.
was undertaken by the unabashed Jaggard in 1612, when his prosperity was secure and he had become his own printer.
Jaggard’s additions to the text.
Exceptional interest attaches to the issue of the third edition of *The Passionate Pilgrim* in 1612. The volume was now printed at William Jaggard’s own press, which he had controlled only since 1605. Jaggard in this reissue bettered his earlier instruction. He enlarged the text to more than twice its original length by the addition of two somewhat long narrative poems in which Shakespeare had no hand. The third edition, in fact, grossly exaggerated the offence of the first in assigning to Shakespeare work by other hands. The additions to the third edition were from *Troia Britanica*, a collection of poetry by a well-known writer, Thomas Heywood. That volume Jaggard had himself published in 1609, contrary, as would appear, to the wish of the author. Heywood proved less complaisant than those whose name and rights were ignored in the first edition of *The Passionate Pilgrim*.
Heywood’s *Troia Britanica* 1609.
Jaggard obtained the licence for the publication of Heywood’s *Troia Britanica* on December 5, 1608, on somewhat peculiar conditions. The entry in the Stationers’ Company’s Register described the work, without mention of Heywood’s name, as ‘A booke called *Brytans Troye*’, and the exceptional provision was added ‘that yf any question or trouble growe hereof. Then he [i.e. Jaggard] shall answere and discharge yt at his owne losse and costes’. When the book duly appeared, Heywood did not question Jaggard’s right to publish it, and no strictly legal ‘question or trouble’ seems to have grown thereof. But Heywood bitterly complained of Jaggard’s typographical carelessness. He requested Jaggard to insert a list of ‘the infinite faults escaped’. But Jaggard was obdurate and insolently retorted (according to Heywood’s statement) that
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THE PASSIONATE PILGRIM 47
‘Hee would not publish his owne disworksmanship, but rather let his owne fault lye upon the neck of the author?’¹
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