A concordance to the poems of Edmund Spenser
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""''.,. .aV-^' % %'^' v^^ ^■t.. - <t^ -^^. •^/ A CONCORDANCE TO THE POEMS OF EDMUND SPENSER COMPILED AND EDITED BY CHARLES GROSVENOR OSGOOD PROFESSOR OF ENGLISH IN PRINCETON UNIVERSITY I PUBUSHED BY THE CARNEGIE INSTITUTION OF WASHINGTON 1915 Vlonegnph ^ y- A CONCORDANCE TO THE POEMS OF EDMUND SPENSER IDMOND SPENCER P ■ .'' /' / ' '^ \ V \ / a / i 0 i <■ / ; \ \ X ' / / (i. » ^. O J rr ../^, leyit.UA A CONCORDANCE TO THE POEMS OF EDMUND SPENSER COMPILED AND EDITED ' ^ BY CHARLES GROSVENOR OSGOOD PROFESSOR OF ENGLISH IN PRINCETON UNIVERSITY PUBLISHED BY THE CARNEGIE INSTITUTION OF WASHINGTON 1915 CARNEGIE INSTITUTION OF WASHINGTON Publication No. 189 Gift Ca. ^i"-;.' Tnst. )Ee 17 1915 PRESS OF J. B. LIPPINCOTT COMPANY PHILADELPHIA PREFACE Spenser is not a popular poet. He has never been in any marked degree even fashionable. Milton, content with fit audience though few, ranked in Pope's and Johnson's time with Shakespeare and the musical glasses. Ladies read his poetry in their boudoirs, and chatted about its beauties in company — absurdly enough no doubt. But such admiration could never befall Spenser. His mate- rials, quality, and intention forbid that a multitude of readers should ever gather about him. Yet his is a peculiar glory. From the appearance of the Shepherd's Calendar to this day he has been neither ignored nor neglected. An ardent and tmdying appre- ciation, glowing round about his poetry, has given constant proof of the abundant vitality within. In steadiness of appreciation from his first signal performance, and in absence of strong disapproval at any time, he seems to be distinguished above all other English poets. But if this appreciation has been fairly constant in degree, it has ftirther dis- tinguished Spenser by its variety. Each generation of critics has discovered new things in him, and each has admired him for a different quality. And though all these qualities are actual, the sum of all is not the sum of his poetry. A new gen- eration, with new knowledge and philosophies, will correct and enlarge the critical measiire of the man and his work. Spenser is like a landscape of rugged mountain or restless sea, qualified with glimpses of more genial and intimate details — sunlit meadow, or human habitation. Viewed in the changing lights of history and opinion, by interpreters of varying temper and judgment, he changes in significance, and indeed in total appearance, though essentially ever the same. While this is the case in the history of any great artist, it is peculiarly so with Spenser. To the classicist he is classic; to the romanticist, romantic. To Milton he is "sage and serious," a higher teacher than Scotus or Aquinas, one in whose rapturous song more is meant than meets the ear; to a man of the senses his imagination teems with loveliness, and riots in a boundless paradise of beautiful things. To the mystic he is a seer, to the moralist an expositor of ethics. For the historian he embodies and illustrates in essence the noblest traits of the two great cultiires from which his work drew its sustenance. He is lyric or epic, satiric or philosoph- ical, naive or sophisticated. To all men of finer perceptions and sensibilities he is all things. He is the poet's poet. Viewed historically, all great art is of two kinds. Especially so is poetry. Either its creative influence is not exerted much beyond itself, and its glory is primarily its own; or it reveals the power to propagate itself through succeeding generations, to found a school, to poetize material and language for artists in ages vi PREFACE to come, to exert subtle and pervading influences in creating and shaping new artists, new mediums, new art. Of the first kind is the art of Dante and Shake- speare and Beethoven. For, though these have unquestionably influenced suc- cessors, yet in proportion to their greatness their power in this respect is small. Of the second kind is the poetry of the Greeks, whose material, drawn from ordinary soiorces in life common to all men, is refined, heightened, transmuted by their touch, and handed down to singers of later ages already filled with the sublimer meaning essential to poetry. Thus a roving and unscrupulous adventurer, with a talent for sensation, was so transformed by Homer and others that Dante employs him to express, in one of its purest and earliest forms, the energy and aspiration of the Renaissance, and in Tennyson he symbolizes the heroic curiosity of science that marks the later age. So also the language of the Greek poets was in essence the common speech of men in their times; but it too has been purged and ele- vated by their use of it in poetry until it has become a quickening, purifying, and ennobUng influence in the poetic language of all other tongues upon which it has breathed. In this sense Greek poetry is normahzing and standard; in this sense especially it is classic. In much the same sense Milton and Spenser are classic. Though usually ranked in English poetry fourth among the sons of light, Spenser is in this respect perhaps the first of them all. From his contemporary, Marlowe, to the present day, virtually all great poets of whatever manner or school bear witness, conscious or unconscious, to his power. Works consciously imitated from Spenser — The Purple Island, The Castle of Indolence, Childe Harold — though mmierous enough, represent but a more superficial and less significant phase of it. In subtler and more essential ways Spenser's power exerts itself in Marlowe, Shakespeare, the Fletchers, Jonson, Milton, Dryden, Pope, Gray, Collins, Goldsmith, Chatterton, Burns, Wordsworth, Coleridge, Scott, Shelley, Keats, Tennyson, and a host of minor writers. Here it is seen in the metrical form, there in the fable or matter, now in the style, now in the single phrase or word; it appears even in the transformed aspect of things which Spenser has helped his successors to perceive. Indeed, much of the tradi- tional language and idiom of our poetry has been made poetical by Spenser, and begins with him. As yet the just measure of this far-reaching power in Spenser is undetermined. In truth the exact appraisal and description of the poet's work as a whole is but begun. Criticism of his poetry, however appreciative, has been hitherto almost entirely impressionistic and variable, and we are still far from the whole truth concerning him. We are told by various writers that he is gentle, or coarse, or saccharine, or formless, or artificial, or excessive, or recondite, or obvious. One who reads Spenser thoughtfully, and continues to read him, readily grows scep- tical of the generalizations vainly repeated from critic to critic. But Spenser can yet be known. He is discoverable in the use which he made of all the materials ready to his hand, in the services which he rendered to the English language, in PREFACE vii his daring and exquisite manipulation of words, in the beauty and the meaning of story, picture, song, idea that constitute his poetry, and in their structvu-al relation to each other. A concordance to his poems, whatever its minor uses, is content to justify itself as a means to the discovery of these real values in Spenser, that his cultural and spiritualizing power may be enlarged among readers who are by nature capable of his influence. The first of many questions to confront the maker of a concordance is the choice of a text. In 1907, at the inception of the work, the text of Morris ' (cited as M.), then the best, was adopted for this concordance. Work was well under way when, in 1908, was published a new and more accurate text by Professor R. E. Neil Dodge * (cited as D.). D., like M., is founded upon all the first editions; but it is more nearly free from misprints, and is on the whole more judicious and consistent in its readings from later editions. It therefore is, to my mind, the best text. In 1909 appeared an edition of the Faery Queen by Mr. J. C. Smith, and in 19 10 an edition of the Minor Poems by Professor Ernest de Selincourt; the two constitute a complete edition in three volumes,' which is here cited as Oxf. D., since it is foimded upon the same originals as M., has served to correct numerous misprints, inaccuracies, and inconsistencies of M. To this end I have collated the two editions nearly throughout. Oxf., where it is based upon the same originals as M. and D., has often served to settle a difference between them. For Books I-III of the Faery Queen, however, it follows the edition of 1596, where the others follow that of 1590. Where Oxf. differs in vocabiolary from the others, I have recorded the variants that the word-list of the poet might be as nearly complete as possible. A few errors in Oxf. have been disregarded, such as "chased" for "chafed," Hub. 6; "runes" for "tunes," Mui. 412 (corrected in the one-volume reprint, 1912); "Coloffes" for "Colosses," Ti. 409; "loves" for "Joves," Epith. 99. Here it may be remarked that the diaeresis used occasionally in the original text, and more frequently by M., to indicate the pronunciation of a syllable other- wise silent, and the accent used by M. for the same purpose, have been regularly omitted. The concordance, then, is based upon M. corrected by D., and includes the variants of vocabulary in Oxf. All these quotations from Oxf. are designated by an asterisk (*). The text of Spenser, for whatever reason, was left by the poet in much disorder. It was inaccurately printed during his life, and deteriorated through subsequent editions, so that a complete restoration will never be possible. In fact it does not seem reasonable to expect great improvement upon what we now have, 'The so-called Globe edition, ed. Richard Morris and John W. Hales, Macmillan, 1869. It has frequently been reprinted without revision of the text. '^ Cambridge Poets, Houghton Mifflin Company. ' Oxford University Press. It has been issued in one volume, with certain corrections of errors, but the words are often so crowded as to make it in places almost illegible. vin PREFACE though a concordance, among other uses, may serve to determine the correct reading in a considerable number of cases. This imperfection of the text presents many difficulties to the editor of a concordance which cannot arise from the more exact and consistent text of a later poet. One of these is the distinguishing of compounds. Spenser sparingly used the hyphen to designate a compound, nor was he consistent in his practice. Thus "sea god" (III. iv. 43. 9), "sea-god" (IV. xi. 8. 2), and "seagod" (IV. xi. 6. 6). This confusion is further confounded by M.'s only partial endeavor to bring about uniformity. Where the original has " steeleheaded " once, and " steele-headed " twice, M. alters only one "steeleheaded" to "steele-headed." The original reads "over all" consistently; M., in two thirds of the instances, reads "over-all," but leaves the others unaltered. In following M., therefore, the concordance does not always show the use or disuse of the hyphen in the original text. This can be correctly observed in D. and Oxf. Similar is the case of such words as afresh, as well, aivhile, instead, which the original printed sometimes as one word, sometimes as two, but which M. does not accurately reproduce in this respect. Then, too, it is often hard to tell whether two words are essentially compound or distinct, such as "loving lays" (T. M. 413), "heavie wounded" (I. viii. 14. 5), "mad man" (in which the position of the stress is a criterion). Many words in Spenser may seem compound to the modern ear which perhaps were not so to him. The most mamerous of doubtful cases are the combinations of adverb and participle, made more doubtful by the poet's habit of placing the adverb, in form often the same as the adjective, before the verb. Such are "sad amazed" (I. v. 32. 5), "soft growing" (IV. vii. 33.4), "sweete smyling" (IV. Pr. 5. 7), and combinations with out — "out boastes" (II. v. 33. 9), "out budding" (I. vii. 17. 4), "out crying" (II. iii. 34. 8), "out find," "out showe" {S. C. Ap. 78). In deciding questions of compounds, including those of an adverb and a participle, I have appealed to the New English Dictionary. When this has failed, I have usually listed such combi- nations as compoimds where they are clearly attributive. Particularly numerous are combinations of half and well, for which useful rules may be found in the Neiv English Dictionary, vol. 5, p. 32, middle column, s. v. half- "in comb."; and in the Concise Oxford Dictionary, p. 1013, top of the first column. When all is done, a few doubtful cases remain. The compound adjective in a predicate use found in other Elizabethans appears in Spenser; for example, "Still solemne sad, or still disdainefuU coy" (II. vi. 37. 5; cf. I. ii. 2. 8), "cruell kynde" (IV. vii. 30. 5), "greedie fiers" (IV. ii. 21. 5), "mellow ripe" (5. C. D. 107), "sullein sad" (III. xii. 18. 2). Such compounds were of course less subject to custom than to individual choice. In Spenser they are not hyphened, and in these, as in all doubtful cases, I have classified them as they were printed in the first editions. The distinction between the possessive singular and the possessive plural is sometimes difficult, since the apostrophe is almost never used. Doubtfiil instances PREFACE ix are "lives" (VI. iii. 31. 9), "others" {Gn. 408), "spirits" (VI. xi. 44. 5), and cer- tain cases under heaven's and heavens' . Cases in translations were decided by consulting the originals; certain others by considering Spenser's practice in the use of the word; but a few, when other means failed, by arbitrary judgment. The poems indexed in the concordance are all found in M., D., and Oxf., except a slightly variant version of Am. i, which was published by Professor Gollancz in Proceedings of the British Academy, 1907-8, p. 100. I have omitted The Doleful Lay of Clorinda, The Mourning Muse of Thestylis, and other poems originally printed with Astrophel, because they are obviously not Spenser's. It is hard to see why editors continue religiously to include them in every edition. I have included two stanzas which form an interlude between The Doleful Lay of Clorinda and The Mourning Muse of Thestylis. They are unmistakably Spenser's. The numbering of references applies to all editions except in the cases of the Dedicatory Sonnets to the Faery Queen and the Amoretti. The following table gives the corresponding numbers of the Dedicatory Sonnets in M. and Oxf.: M. Oxf. M. Oxf. M. Oxf. I I 7 10 13 12 2 6 8 14 14 13 3 3 9 2 IS IS 4 4 10 S 16 16 S 7 II 9 17 17 6 8 12 II The last of the Amoretti are numbered as follows: M. Oxf. M. Oxf. 82 82 86 87 83 84 87 88 84 8s 88 89 8s 86 The sonnet numbered 83 in Oxf. is a slight variant of 35. The order of words is strictly alphabetical. The inflected forms of all words are separately listed. The possessive singular precedes the nominative and objec- tive plural form, and the possessive plural follows it. The varied and often whimsical spelling in Spenser is no doubt chiefly owing to the poet's intention or indifference, but in many cases to the printer's carelessness. The word afraid, for example, appears as affraid, affraide, affrayd, afraid, afrayd, afrayde. To make a manageable concordance it is necessary to marshal such vari- ants under a normal spelling, and I have, with a few necessary exceptions, indexed all quotations under the modern spelling, in general using the index-form found in the New English Dictionary. Numerous cross-references should obviate all diffi- culty in finding a word, but in any case the reader has only to recall its modern spelling to find its place in the concordance. There are apparent exceptions to this rule, as in unfamiliar proper names and obsolete words or forms. For the X PREFACE unfamiliar names from British history I have sought the forms in Miss Harper's study of The Sources of the British Chronicle History in Spenser's Faerie Queene. Names invented by Spenser I have indexed imder the most frequent spelling (Artegall, rather than Arthegall). An exception to my practice is furnished by the preterites of several verbs of the third ablaut class, such as begon, dronk, rong, song, spon. Where by rhyme or grammar it is clear that the form is equivalent to the M-form, it is listed thereunder. If in any case this is not clear, a separate list of the o-forms is made. Homographs are not distinguished. Read, pres. and pret., are in one list; so bear, v., and bear, n. ; ivind, v., and wind, n. Certain words which are distinct in modem English were evidently identical to Spenser, with two not always distinct meanings. Such are fain, feign (cf. II. iv. I. 8; vii. 6i. 6; V. i. 22. 8; vi. 3. 8; Am. Ixxxvi. 10); throe, n., "pain," throw, n., "cast," which sometimes merge in the sense "blow causing pain" (cf. Mui. 414); travail, travel (cf. IV. x. 3. i; VI. iii. 9. 9). Read and rede are not distinguished in spelling by Spenser. In the sense "advise" I list the word vmder rede, in other senses tmder read, though the participle at V. viii. 13. 6, properly classified under rede (cf. N. E. D., s. v., i. 3), is for convenience Hsted under read. Lea and lee are imcertain. The word which occurs at Ti. 135, 603; V. ii. 19. i; Froth. 38, 115 siu"ely has a meaning different from any given in N. E. D., though this meaning is not altogether clear. Dr. Henry Bradley in a letter to the editor suggests: "Perhaps ' watercotu-se ' or 'river-bed' might do, but even that seems to yield an awkward tautology in connexion with channell. It looks as if Spenser took the word to mean the 'descending tract traversed by a river.' How he got this notion it would be difficult to say." Even these explanations do not wholly satisfy Froth. 38 and 1 15-18. No doubt here is another case of Spenser's vague use of a musical word. The classification of race, "scratch, demolish," raced, rast, rased, presented difficulty. Race, rase, raze, are variants of one verb, though race was doubtless pronounced differently from the others in Spenser's time, as it is now. In the sense "demoHsh" he evidently distinguished it by the spelling and the unvoiced pro- nimciation, for he spells it race, raced; his spellings rast, ras't, raste, indicate the same pronunciation. In rased, "scratched" (III. i. 65. 7), he apparently vmderstands a different word. Therefore I have followed his spelling and classified the instances meaning "demolish" luider race, and the instance meaning "scratch" under rase, with cross-reference from raze. Past participles with the prefix y-, which serves in Spenser only a metrical ptu-pose, are listed not tmder Y, but with the simple form of the participle. Under Y, however, they are all given with cross-references, so that the reader can at a glance see what words were so used. In one or two instances the prefix y- appears in another form of the verb. Such instances are of course recorded under Y. When the work of compilation began, I purposed to follow, as nearly as pos- sible, a chronological order in citing the quotations. In general the reasons for PREFACE XI so doing are obvious; in Spenser's case, however, it has proved impracticable, since the chronology of his works must ever remain in many details doubtfiil. His practice of postponing publication for years, and of revising at publication, or during the preceding interval, greatly complicates the problem. I have departed from the usual order of the editions, however, and made some rearrangement of the Minor Poems, gxiided in part by Professor Dodge's opinions in his prefaces to them. If the work were to be done over, the order of texts woidd be that of his edition, which at any rate is an improvement over the traditional one. I have endeavored to represent every word in Spenser's verse by at least one quotation. There are, of covirse, many common words of which a complete list of instances would be too long for convenience. For these I have followed the example of Professor Cooper in his Concordance to Wordsworth, and given partial lists. They are: A About Above Adown After Again Against Ah Alas AU Also Am Among Amongst An Any Are Art (t)6.) As As if At Aught Be Because Been Before Behind Being {part.) Beside Between Betwixt Both But By Can Cannot Canst Could Couldst Did (aux.) Didst (aux.) Do (aux.) Does (aux.) Dost (aux.) Doth (aux.) Down (adv. and prep.) Each Either (conj.) Eke (adv.) Else Ere Ever For Forth For to Fro From Full (adv.) Gainst Had (aux.) Has (aux.) Hast (aux.) Have (aux.) He Hence Her Here Hers Herself Him Himself His Hither How I If I'll In Indeed Is Lest Lo Many May (aux.) Me Might (aux.) Mightest Mongst More (adv.) Most (adv.) Mote Much (adv.) My Myself Ne Neither (conj.) Nis No Nor Not Now O Of On Or Other Ought Our Ours Till Ourselves To Out Toward (prep.) Over Towards Own (pron.) Twixt Quite Under Same UntU Shalbe Unto Shall Up Since Us Sith Was So Wast Soon as We Such Were Than When That Whenas The Whence Thee Where Their Whether (conj.) Theirs Which Them Whose Themselves Why Then Will (aux.) Thence With There Within These Would They Wouldst Thine Ye This Yet Those You Thou Your Though Yoiu-s Through Yoiurself Thus Yourselves Thy Thyself In compiling these lists some care has been taken to include pectoliar or sig- nificant instances of each word. Thus the lists for as, as if, than, include all similes xii PREFACE introduced by these words. By consiilting these and the complete list s. v. like, the reader is enabled quickly to consider this very interesting and important ele- ment in the poet's art. For /, me, my, all cases are retained in which "Spenser" is the antecedent. The varied uses of preposition, conjunction, or modal auxiliary, I have tried to illustrate in each case. But if these lists do not satisfy a reader's curiosity, he may easily consult various monographs, such as K. Boehm, Spensers Verbalflexion; R. Liese, Die Flexion des Verbums bei Spenser; H. Boehm, Spensers Relativsatz; H. Instances have often been retained because of the pectdiar part which the word, insignificant in itself, plays in the cadence or alliteration of a line, or for the value of the instances in determining, either through rhyme or metre, the Spenserian pronunciation of the word. As it is, most of the partial lists are sufficiently long — perhaps in some cases too long. This work was begun, and has in large part gone forward, under the auspices of the Concordance Society. The burden of compilation has been much relieved by the help of many collaborators, a ntunber of them volunteers. Not only was my wife's share in the mere labor very heavy, but to her the book owes many a device by which the task was shortened, and the detection of many an inaccuracy which would have impaired its usefulness. I would particularly make acknowledg- ments to Mr. Alain C. White, who paid for nearly all the transcription, and took part in the earlier stages of the work. To Professor Lane Cooper I am indebted for expert advice, as well as for an actual share in the labor. Others who have given generously of their time and strength are Miss Mary HoUingsworth Beach, Miss Sylvia Woodbridge Beach, Miss Mildred Emily Cook, Miss Elsie Lydia Croll, Miss Natalie Merrill, Miss Margaretta Paxton, and Miss Adeline Mitchill Scott. Acknowledgment is also due the Right Honorable Lewis Harcourt for permission to reproduce the portrait of Spenser in his possession. Finally, I would acknowledge the liberal facilities which the Carnegie Institution of Washington has provided for the publication of this work. Doctor Johnson good-humoredly defined a lexicographer as "a harmless drudge," and concordance-making, which is but a lower form of lexicography, surely escapes none of its drudgery. But for this drudgery the labor yields compensations, if only in handling from day to day bright ravelings from the rich fabric of Spenser's poetry, or in hearing, until their cadence falls familiarly upon the ear, snatches of his incomparable music in all the changes of instrument and voice of which he is preeminently the master. Princeton, August y, 1Q15. If Quotations marked with an asterisk (*) record variant readings in the Oxford Edition. ^Following is a list of Abbreviations, with titles to which they refer in order of citation and their page numbers in various editions. (References without designation of title are to book, canto, stanza, and line, of the Faery Queen.) Abbreviations Bel} Pe/.i Rev Bel Pet BeU Pet.'' Ro Van To his Booke . .. 5 (7 S. C.Env. '. ... Frag Gn Hub T.M U.V Tetrasticon, Ex tempore Com. Son. i. .. Ti Mui D As As. Int Col Ded. Son III. xii. 43-47 or. Am.. Am.^i Son Epig. Epith Com. H.L.. H.B.. H.H.L H.H.B Proth. u-iv Titles First version of The Visions of Bellay, in the Theatre for Worldlings First version of The Visions of Petrarch, in the Theatre for Worldlings Four visions from Revelation, in the Theatre for Worldlings Readings common to both versions of The Visions of Bellay Readings common to both versions of The Visions of Petrarch Second version of The Visions of Bellay .. Second version of The Visions of Petrarch. Ruins of Rome Visions of the World's Vanity Prelude to Shepherd's Caleridar Shepherd's Calendar Envoy to Shepherd's Calendar Two lines quoted in E. K.'s gloss on the October Eclogue Vergil's Gnat Prosopopoia: or Mother Hubbard's Tale . .. Tears of the Muses lambicum Trimetrum, in Spenser's first letter to Harvey Two fragments, in Spenser's second letter to Harvey Commendatory Sonnet i Ruins of Time Muiopotmos Daphnaida Astrophel The last two stanzas of Clorinda's Lay . . .. Colin Clout's Come Home Again Verses addressed by the Author of the Faery Queen to Various Noblemen Stanzas originally at the conclusion of the Third Book of the Faery Queen, after- ward rejected Amoretti Variant of ^w. i, published in Proceedings of the British Academy, 1907-8, p. 100.. Epigrams Epithalamion Commendatory Sonnets ii-iv Hymn in Honor of Love Hymn in Honor of Beauty Hymn of Heavenly Love Hymn of Heavenly Beauty Prothalamion Globe (M.) 700 702 701 538 541 538 541 526 536 440 446 486 479 504 512 497 707 709 607 489 531 542 SS9 563 549 692 572 586 587 608 592 596 599 602 60s Cambridge (D.) 765 765 767 125 128 125 128 108 122 4 9 S6 47 79 90 70 769 771,2 762 59 116 678 699 704 687 140 767 717 734 735 762 742 746 750 754 759 Smith and de S61in- court (Oxf.) 3 vols. 1.490 1.484 1.501 1.274 1.282 1.274 1.282 1-235 1.268 1.2 1. 14 1. 121 1-103 1. 172 1. 197 1-153 1-505 1-505 1.480 1. 128 1-255 1.289 1-337 1.346 1-309 3-492 2-517 1-372 1. 417 1.422 1.480 1-437 1.446 I-45S 1.464 1.474 I vol. 606 606 608 523 525 523 525 509 521 416 421 467 459 486 495 480 636 611 603 471 516 528 547 550 536 410 210 562 577 580 603 586 590 593 596 601 xni A A (partial list). Sec Abed, Aloft, An, Aright, Arlghts, Asleep, Aslumbering, Asunder, Awhile, Now-a-days. Then did a ghost appcare fiel.^ i. 5 I cast to goe a shooting S.C. Mar. 63 let them gange alone a Gods name ; S.C. S. 100 (a Gods name) Hub. Ill Adventure which might them a working set ; IJub. 224 none, except a God, or God him guide, Mui. 222 Hast wandred through the world now long a day, I. x. 9. 6 which she in a earthen Pot did poure, III. ii. 49. 7 When one so oft a night did ring his matins bell HI. x. 48. 9 For he had been a fatting hogs of late, VII. vii. 40. 3 Aaron's. Resembling Aarons glorie in his place: Hub. 463 Aback. They drewe abacke, as halfe with shame S.C. Jun. 63 All suddenly dismaid, ... He fled ahacke G-n. 29S and flood from mouth, Did fly abacke, II. vii. 68. 7 each abacke rebowndes With roaring rage ; IV. 1. 42. 3 From his revengefull purpose shronke abacki?, IV. vi. 21. 4 forst him flie abacke, hiraselfe to save: IV. vii. 28. 4 ne once abacke did flit, IV. ix. 29. 8 turn'd abacke, and to retyre him hasted VI. vi. 28. 3 bet abacke, threatning in vaine to bite, VI. xii. 29. 4 Aband. Vortiger have forst the kingdome to aband II. x. 65. 9 Abandon. Abandon, then, the base and viler clowne ; .... S.C. O. 37 Abandon quiet home to seeke for it, Col. 686 Abandon this forestalled place at erst, II. iv. 39. 3 Abandon scone, I read, the cajlive spoile II. viii. 12. 4 shameful. t' abandon noble chevisaunce III. xi. 24. 6 rather then my love abandon so IV. vii. 16. 8 As to abandon that which doth containe Your honours stile,. V. xi. 55. 5 Abandoned, her knight. Had her abandond I. iii. 3. 7 thee abandond wholy do possesse III. ii. 46. 3 when he wrapped found Th' abandond spoyle, VI. xii. 9. 5 Thence-forth abandond her delicious brooke VII. vi. 54. 2 the siege by you abandoned quite Am. xiv. 2 Abandoning, by abandoning his sword V. v. 17. 7 Abase, that warriour gan abace His threatned speare,. II, i. 26. 7 lowly did abase their lofty crests II. ii. 32. 4 Thus lowly to abase thy beautie bright, II. iv. 25. 8 low abase the high heroicke spright, II. vii. 10. 6 his speare he gan abase And voide his course: IV. vi. 3. 4 misfortune, which did me abase Unto this shame, VI. i. 12. 7 He stayd his second strooke, and did his hand abase VI. vi. 31. 9 did his head for bashfulnesse abase, VI. viii. 6. 5 Abased, have thy pride so much abaced, Ro. xiii. 12 Abash. Nothing might abash the villein bold II. vii. 42. 8 Those tidings sad Did much abash Sir Artegall to hearc. V. xi. 40. 7 Abashed. And be not abasht: S.C. Ap. S3 The tydings straunge did him abashed make 1. xii. 29. 2 The man was mnch abashed at his boast; II. iii. 17. 1 nathemoe Was he abashed now II. iv. 8. 5 abasht he was Through fear and wonder II, viii. 7. 1 more abasht for shame II. ix. 43. 1 Abasht that her a straunger did avise ; II. xii. 66. 4 seeing her selfe descryde, Was all abasht, III. iii. 20. 2 boastfull men so oft abasht to heare? III. iv. 1. 7 All suddeinly abasht shee chaunged hew, III. v. 30. 5 The wretched man. Was all abasht, Ill, x. 25. 2 Therewith the Gyant much abashed sayd, V. ii. 44. 1 she turn'd her head, as halfe abashed, V. v. 30. 1 abasht with secrete shame V. vii. 38. 3 Abasht at his rebuke, that bit her neare, V. xi. 64. 2 Much was the Knight abashed at that word VI. i. 26. 1 approaching nye,. Then much abasht, VI. iii. 21. 3 therewith much abashed and affrayd, VI. vii. 22. 1 The Goddesse, all abashed with that noise, VII. vi. 47. 1 abashed to behold So many gazers Epith. 159 Abashment, fild his senses with abashment great ; III. viii. 16. 7 all her sences with abashment quite were quayld III. viii. 34. 9 Abate, miserie doth bravest mindes abate, fluh. 256 'The Lyon, ... his princely puissance doth abate, I. iii. 7. 2 Her piteous wordes might not abate his rage, I. iii. 38. 1 Let now abate the terrour of your might I. v. 14. 4 In ashes ,. array His daintie corse, proud humors to abate; I. x. 26. 2 th' others pleasing service to abate, II. ii. 19. 5 T' abate all spasme, and soke the swelling bruze ; III. v. 33. one evill, which doth ... all our blissc abate; VL iv. 30. 7 Cryde mercie, to abate the extremitie of law VI, vii. 36. 9 I would abate the sternenesse of my stile, VII. vi. 37. 3 Abated. Her bountie she abated, and his cheare empayrd. . . .II. x. 30. 9 Abating. Nought abating of his former spight, VI. vii. 10. 5 Abear. So did the Faerie knight himselfe abeare, V. xii. 19. 1 Thus did the gentle knight himselfe abeare VI. ix. 45. 1 Abed, mightie manhode brought a bedde of ease S.C. O. 68 Delight is layd abedde ; S.C. D. 137 that goodly glee, ... Is layd abed, T.M. 183 Abessa. Abessa, daughter of Corceca slow, I. iii. 18. 4 Abet. Abett that virgins cause disconsolate, I. x. 64. 2 All arm'd to point, his chalenge to abet: IV. iii. 6. 2 The meede of thy mischalenge and abet IV. iii. 11. 2 were he here, that would it with his sword Abett, VI. i. 28. 4 To reskue him, and his weake part abet, VI. v. 22. 4 Abhominably. See Abominably. Abhor, wordes, and lookes, and sighes she did abhore ; . . . .1. vi. 4. 4 wretched world he gan for to abhore, I. x. 21. 4 gan abhorre her broods unkindly crime, II. x. 9. 4 Such as by nature men abhorre and hate ; II. xii. 36. 3 The hevens such crueltie abhorre.' III. viii, 48. 9 ungodly trade The heavens abhorre, IV. vii. 12. 4 He now t' abhorre and loath her person had procured V. ix. 39. 9 Whom Gods doe hate, and heavens abhor to see; VI. vi. 10, 2 Abhorred, never was abhord The simple shepheards kynd. . . S.C. Jul. 139 hatefull heresies, of God abhor'd: Hub. 389 why hath he me abhord f I. iii. 7. 9 Much feared I to have bene quite abhord, I, iii. 27. 3 many mischiefes follow cruell Wrath; Abhorred bloodshed, . . I. iv. 35. 2 her abhorred face, so filthy and so fowle I, v. 30. 9 Tounge hates to tell the rest that eye to see abhord.' . . . . II. i. 11. 9 That had almost committed crime abhord, II, i. 27, 3 Mortal vengeaunce jo>iie to crime abhord f II. ii. 30. 4 Abhorred bloodshed, and vile felony, Ill, iv. 58. 3 loathsom life, of God and man abhord, Ill, x. 51. 2 ten thousand monsters foule abhor'd IV. xi. 3. 8 So great her pride that she such basenesse much abhord. . . . V. v. 27. 9 brought he forth with griesly grim aspect Abhorred Murder, . V. ix. 48. 2 Sith which she hath me ever since abhord, V. xi. 50. 7 Such cruelty she would have soone abhord Am. xxxi. 14 Abid. See Abide, Abode. Eftesoones the roaring billowes stUl abid, III. iv. 32. 7 Abide. See Abid. that is flitting doth abide and stay Ro. iii. 14 Nor prince, nor peere, nor kin, they would abide Ro. xxiii. 14 No blame to thee, whosoever dost abide By Nyle Ro. xxxi. 3 The least of thousands which on earth abide, Van, iii. 8 by your flocks on Kentish downes abyde, S.C. N. 63 AVhile here on earth she did abyde S.C. N. 199 in the woods of Astery abide; Gn. 20 'There next the utmost brinck doth he abide, Gn. 385 All things doo change that under heaven abide, Ti. 206 what can long abide above this ground Ti. 568 please his fancie, nor him cause t' abide: Mui. 158 what on earth can long abide in state, ^fui. 217 so. hot That living creature mote it not abide; I. ii. 29. 6 Infinite sorts of people did abide There waiting long, , ,. I. iv, 6, 7 many skilfuU leaches him abide To salve his hurts, I. v. 17. 2 forth she rose, ne lenger would abide, I. v. 19. 3 Abyde, tUl I have told the message which I have.' I. v. 21. 9 late repentance which shall long abyde, I. vii. 23. 7 No. deceiptfull traine, Might once abide the terror ... I. viii. 4. 6 blisse may not abide in state of mortall men I. viii. 44, 9 Una faire, Did in that castle afterwards abide, I. viii. 50. 7 nor for gold nor glee will I abyde By you, I. ix. 32. 7 W^ith sacred rites and vowes for ever to abyde I. xii. 36. 9 be ye sure, he dearely shall abyde, II, i. 20. 3 we far off will abide to vew.' II. i. 25. 7 wakefuU watches ever to abide; II, iii. 41. 6 'Abide the fortune of thy present fate ; II. vii. 60. 2 the while that Guyon did abide in Mamons house, II. viii. 3. 1 breake the launce and let the head abyde II. viii. 36. 7 other some could not abide to toy ; II. ix. 35. 4 was not so hardy to abide That bitter stownd, II. xi. 25. 4 none mote it abyde; III. i. 66. 6 in this thraldome Britons shall abide ; III. iii, 44. 2 At least eternall meede shall you abide.' III. v. 11. 5 In which full many lovely Nymphes abyde; III. vi. 16. it is too long here to abide, },/''"«, vet with him as relickcs did oiWe , ■",, o Whereas that wofull man in languor did abide IV. vni. H. 9 entring in found none therein abide, IV. vin. 23. 4 did in sate securitie abide, JV- ""l-/^ * in the Porch did evermore abide An hideous Giant IV. x. lb. & Durst not the stemnesse of his looke abide ; IV. x. 18. 3 There did this lucklesse mayd seven months abide, IV. xi. 4. 6 maketh him abide Till ... on his backe he ride IV. xii. 13. 4 By that same oarefull Squire did then abide, V. i. 23. 2 So ye will sweare my judgement to abide.' V. i. 25. 7 by that Bridge whereas he doth abide: V. ii. 10. 7 his faint foe no longer could abide His puissance, V. ii. 17. 7 In which the Paynims daughter did abide, V. ii. 20. 2 In which it doth immoveable abide, V. ii. 35. 6 Ne would within his ballaunce well abide: V. ii. 45. 2 Ne any token doth thereof abide: V. iii. 25. 7 how far hence does she abide f' V. iv. 33. 2 airowes haild so thicke, that they could not abide V. iv. 38. 9 The more she rag'd, the more he did abide ; V. v. 6. 8 f abide the balefull stowre V. v. 18. 7 greater shame t' abide so great misprize V. v. 48. 4 Ne would abide, till she had aunswcre made V. vi. 17. 7 Yet being forst to abide the dales returning, V. vi. 31. 3 Yet mote he algates now abide, and answere make V. viii. 5. 9 Ne after him did Artigall abide, V. x. 17. 8 like a bulwarke firmely did abyde, V. x. 35. 4 Durst not abide, but fled away for feare V. x. 38. 3 Nought may abide the tempest of his yre : V. xi. 58. 8 f'alidore did with her there abyde VI. i. 30. 2 For he durst not abide with Calidore to fight VI. iii. 26. 9 Where she in safe assuraunce mote abide, VI. iii. 38. 8 He bad him stand f abide the bitter stourc VI. iii. 48. 4 Durst not the furie of his force abyde, VI. vi. 28. 2 bootelesse thing him seemed to abide So mighty blowcs,. .VI. Ability, of lesse livelood and liability, VI. iii. 7. 7 Abject, letting him arise like abject thrall, VI. vii. 26. 6 like a most demisse And abject thrall Il.H.L. 137 Abjected. upon the soyle Having her selfe in wretched wize abjeeted, V. ix. 9. 8 Abjecting. downe againe himselfe disdainfully Abjecting, . . III. xi. 13. 7 Able. See War-able. At last, not able to beare so great weight, Ko. xx. 12 Should able be so great an one to wring Van. ix. 14 The same was able with like lovely lay Gn. 461 So much as they were able well to beare Hub. 1157 They able are with power of mightie spell Ti. 374 Nor better hable, ... her name to glorifie Col. 378 Bable to melt the hearers heart unweeting, Col. 698 A worke of wondrous grace, and hable ("able) soulcs to save. I. ix. 19. 9 she was hable with her wordes to kill, ... the hart I. x. 19. 8 to the rest more hable he might bee ; I. x. 45. 2 hardy fowie above his hable might I. xi. 19. 6 tall young men, all hable armes to sownd ; I. xii. 6. 7 His deare delights were hable to annoy: I. xii. 41. 4 Bable to heale the sicke, and to revive the ded II. iii. 22. 9 Both horse and man nigh able for to choke; 11. v. 3. 6 with paine Or powre, be hable it to remedy, III. iii. 40. 4 So long as breath and hable puissaunce III. vii. 3. 1 Three such as able were to match a puissant host? IV. iii. 24. 9 Which neither able were to wag, or once to weld IV. iv. 18. 9 none his force were able to withstond IV. iv. 23. 8 Gainst whom none able was to stand on ground; IV. iv. 28. 3 able was weake harts away to ste.al IV. y. 10. 5 able was all daungers to withstond: IV. ix. 18. 4 Ne any able was him to withstand V. xii. 7. 6 So long as these two armes were able to be wroken VI. ii. 7. 9 was not able up him selfe to reare, VI. viii. 25. 6 better o!)(e it to guide alone ; VII. vi. 11. 4 scarse his loosed limbes he hable was to weld VII. vii. 31. 9 Abler. They mote the abler be to passe unto the rest VI. iv. 15. 9 Ablest, hablest wit of most I know this day Col. 383 Aboard, foord Which. doth beare aboard The ploughmans hope Ro. xiv. 3 yron bands abord The Pontick sea Gn. 46 They were in doubt, and flatly set abord Bnb. beholde the bright abode Of God and men Rev. iv. 6 they . . . liken theyr abode; S.C.Jul. 108 About Abode — Continued. 