Metrical Variation in a Lyric by Thomas Wyatt

 

 

Alas, Madam, for Stealing of a Kiss

Sir Thomas Wyatt

 

Alas, madam, for stealing of a kiss

Have I so much your mind there offended?

Have I then done so grievously amiss

That by no means it may be amended?

 

Then revenge you, and the next way is this:

Another kiss shall have my life ended,

For to my mouth the first my heart did suck;

The next shall clean out of my breast it pluck.

 

 

 

     The difference between vers libre and metered forms is often exaggerated; it is never more than a matter of degree.  The freest of free verse has inevitably in English stress accents which will sometimes affect the reader’s impression.  On the other hand, the most rigorous of prosodists cannot make a pentameter of perfectly matching iambs as both ictus and remiss may have several levels of stress.  Considerations of pitch, duration, alliteration, and assonance complicate the picture further. 

     The significant question for writers who adopt any level of sonic organization in poetry is whether the sound effects contribute to the poem’s effect, whatever that might be.  While readers would differ from one another only in detail in a line’s scansion, far less consensus is probable about aesthetic effects.  One critic’s account of reactions might be inconsistent with another’s, yet over time a degree of common responses is likely to emerge.

     Metrical effects range from undeniable to vanishingly subtle, but they constitute a major part of the music of poetry.  Even a brief and simple lyric with what seems a transparent theme can prove elusive under close reading.  A brief, song-like lyric by Thomas Wyatt “Alas, madam, for stealing of a kiss” may seem direct and explicit in form, its meter a straightforward iambic pentameter and its rhyme-scheme a simple abab abcc.  The alternate rhymes concluding with a couplet makes the poem resemble in part a truncated English sonnet.

     The first line establishes a clear pattern as it begins with three strong and clearly iambic feet.  Yet any reader will perceive that the “of” in the fourth foot receives less emphasis than the other stressed syllables (the second, fourth, sixth, and tenth), speeding the line’s conclusion and thus enacting the furtive and hasty theft of a kiss. 

     The same fourth foot is disturbed in the second line.  Whereas “of” in the first was weak enough to make “-ing of” a pyrrhic, this time the rhythm is reversed and the fourth foot (“there of-“) is a trochee, as is the fifth (“-fended”).  This arrangement not only continues the sense of something out of order, amiss, while drawing greater attention to the offense with the emphasis on the word “there” and the highlighting of the key syllable of “offended.”

     The same pattern of irregularity, sounding something like syncopation, recurs in the third line with the pyrrhic fourth foot, and then in the fourth where the reader finds yet another pyrrhic as the fourth foot (“be a-“) and a trochee as the fifth (“-mended”) as in line two.  Thus the stanza is tied into a tight package while at the same time the cadences indicate continued instability.

     The second stanza opens dramatically with a more irregular line which might be read as opening with two trochees (“Then revenge you”) followed by a pyrrhic (“and the”) only to recover the rhythm with two concluding iambs (“next way is this”).  The drumbeat continues for three more iambs in line 6 (“another kiss shall have my life”) which the ends in another reversal, the trochaic fifth foot (“ended”). 

     Resolution come with the final couplet.  The seventh line is a unambiguous iambic pentameter as though confidently setting forth a harmonization of the man’s and woman’s wishes (“For to my mouth the first my heart did suck”) with the new rhyme word, the harsh and unpleasant-sounding “suck.”  The final line begins with two regular feet followed by a pyrrhic (“out of”) which skips forward in a little rapid hop toward the two final iambs (“my breast it pluck”) and the grating final sound.  That concluding rhyme settles the matter but its croak suggests that all may not be solved. 

     The poem’s claim is clearly a rhetorical one, meant to impress the woman with a witty display indicating the author’s courtly savoir-faire, yet he dies in the end, victim of his heart’s exiting his body.  In literal terms, his second kiss would be his last, but it is unlikely that his ambitions were to halt so soon.  The ingenious verbal show is, of course, not for the lady alone, but for the court and today's reader as well, containing perhaps a bit of self-satire by the lover who does not realize he has promised his own extinction as a sign of devotion.  In the end it is a charming little game in which, at least in the seducer’s game book, she will grant a second kiss and a third and both can then wonder at his continued survival as love-making proceeds.

     This metrical variation is only a portion of the sonic structure of the poem, what Pound called melopoeia.  Apart from the metrical control suggested by this analysis, Wyatt also deploys rhyme to heighten both melody and meaning.  Thus “kiss” is paired with “amiss,” since the act is viewed as a trespass, and then settled by chiming with “this,” the proposed solution to the offense.  The rhyming of “offended” with “amended” imply a possible remedy to answer the complaint which is then resolved through the speaker’s theatrical pretense of a demise with “ended.”  He uses alliteration, for instance in the repeated uses of the letter m in the first four lines all associated with the  beloved (including the punning “amiss”). 

     In addition, apart from  the sound patterns, issues of source arise, first of all from the fact that the verse is based on Serafino Aquilano’s poem beginning “Incolpa donna amor se troppo io uolsi,” and instances of both Wyatt’s following his original and deviating from it are significant.  Petrarchans do not provide the sole influence.  The image of the heart rising during a kiss, for instance, is a trope familiar from the Greek Anthology.

     Even this small, apparently casual lyric, part of a sophisticated court’s play between the sexes, couched in a simple meter, not so distant from conversation, derives its effects from complex structures of sound, sense, and thought.  All must be unified or else, for good reason, jarring, with every element serving the reproduction of a moment of imagined consciousness: a person might have once felt this way.  Meter plays the role of a steady background beat against which every variation is perceptible and significant.  The poet need not, of course, be conscious of the means by which the poem works; an accomplished writer can often work from intuition like a skilled jazz soloist while for the reader or listener as well, the effects need not be understood to work well.

  

Two Poems by Mellin de Saint Gelais

The French texts are appended.

 

     While great work may occur at any stage of literary history, often the first practitioners of a form possess a fresh richness and ingenuity that soon vanishes.  I find this “early morning” quality in William IX among Troubadours, for instance, and in the greatness of the first generation of Mississippi Delta blues.  A similar glow is perceptible in the poetry of Thomas Wyatt who imported Continental verse forms to English poetry, most significantly the sonnet, a generation or two after their introduction in France.    

    Mellin de Saint-Gelais (c. 1491-1558) played a significant role in the process of adapting Italian models into French poetry.  He is said to have mocked Ronsard and was in turn attacked by du Bellay, but these quarrels have little relevance to the pleasure of a modern reader coming across the wit and ingenuity that first brought the author into favor with Francis I whom he served as court poet,  chaplain, and librarian. 

     I use the text from the 1873 edition Oeuvres complètes de Melin de Sainct-Gelays edited by Prosper Blanchemain which prints as a note another version with many variations, the most significant of which are the substitution of English trickery and Lombard usurers for African monsters and “opinions en une republique” in the penultimate triplet.  This poem was set to music by André Jolivet using the title “Sonnet à une lunaticque” (1951).

 

There aren’t in Venice near as many boats,

Or Bourgian oysters,  or Champagne’s fine hares,

Fewer Breton calves, Savoyard bears

Or white swans up and down the Thames afloat,

 

Or liaisons that were begun at mass,

Or fighting among petty German states,

Or Spanish grandees thinking they are great,

Or courtly lies told by the highest class,

 

Or  prodigies in Africa’s hot clime,

Opinions in a democratic time,

Or Papal pardons on each feast day signed,

 

Not so much greed among men of affairs

Or academic quarrels splitting hairs,

As my beloved’s notions in  her mind.

 

      I like the unpredictable catalogue, reminiscent of Sei Shonagon’s Pillow Book,  of “things of which there are many,” which holds the reader in  suspense until the punch line, an affectionate (if patronizing and misogynistic) remark.  The author begins with the reputations of various regions that would be immediately recognizable to readers, but, in the second stanza, moves to scattershot social satire: the supposedly pious are really cruising for lovers in church, the Germans are a somewhat absurd collection of petty principalities, the Spanish lords are egotistical, and everyone lies in court.  The third stanza mixes these two elements with every characteristic having a satirical edge.  The last tercet moves to matters of the mind, first the rapacious avarice of economic life, then the fierce rivalries in the Sorbonne (mentioned by name in the original), to subtly prepare the way for the vagaries of thought of the lover.  Surely here the lover has proven his imagination as whimsical and wandering as that of his beloved.

     He may have written the first French sonnets, but the form was at the time fluid.  Here is a poem with  thirteen lines

 

Thirteener

 

In sea’s wide waters, far from any port,

lascivious sirens swim about and sport,

and there they comb their long and golden hair.

Their voices of serene and pleasant sort

can grab the mast and seize the hull’s support,

and then make mighty waves halt in the air.

So stormy tempests sink ships they have snared.

No different is the case with life so dear.

A fickle mermaid may make disappear

quite all our joy, the sweetness of life’s stream.

When death brings shipwreck and a watery bier,

we’re nothing but a rumor one might hear, 

less than a wind or shadow, smoke, or dream

 

      The poem begins with what might seem a romantic literary reference to mermaids, but this is a magician’s move to distract the reader.  The initial references reproduce the sirens’ allure by mentioning their “lasciviousness” and the beauty of their hair and voices, but, in a volta with a vengeance, their charms are revealed as treacherous and deadly.  The conclusion, with its wistful list of insubstantial things, recalls the dramatic conclusion of the Diamond Sutra.

 

Like a tiny drop of dew, or a bubble floating in a stream;

Like a flash of lightning in a summer cloud,

Or a flickering lamp, an illusion, a phantom, or a dream.

                                                                           (tr. Alex Johnson)

 

 

  

Il n'est point tant de barques à Venize,

D'huystres à Bourg, de festuz en Champagne,

De differentz aux peuples d'Allemagne,

De cygnes blancz au long de la Tamise;

 

Ne tant d'amours se traictent en l'eglise,

Ne tant de veaux se treuvent en Bretagne,

Ne tant de gloire en un signor d'Espagne,

Ny en la Court tant y a de faintise;

 

N'en ces Anglois a tant de cornardise,

Ne de pardons à Rome un jour de feste,

Ny d'usuriers en toute Lombardie;

 

Ny de travaulx à vaincre femme honneste,

Ne dans Auvergne animaulx d'Arcadie,

Que vous avez de lunes en la teste.

 

 

 

Treizain

 

Par l'ample mer, loin des ports et arènes

S'en vont nageant les lascives sirènes

En déployant leurs chevelures blondes,

Et de leurs voix plaisantes et sereines,

Les plus hauts mâts et plus basses carènes

Font arrêter aux plus mobiles ondes,

Et souvent perdre en tempêtes profondes;

Ainsi la vie, à nous si délectable,

Comme sirène affectée et muable,

En ses douceurs nous enveloppe et plonge,

Tant que la Mort rompe aviron et câble,

Et puis de nous ne reste qu'une fable,

Un moins que vent, ombre, fumée et songe.

Every Reader's Skelton

Who can resist the anecdote told of John Skelton’s presentation of his new-born son to his congregation at Diss in the waning days of Roman Catholicism’s hegemony in Britain? Understanding that some parishioners had complained about him to the Bishop of Norwich that “he kept a fair wench” who had just borne a child, he told his wife to bring the baby forward. Displaying it naked, he asked, “How say you, neighbors all? Is not this child as fair as is the best of yours? It hath nose, eyes, hands, feet, as well as any of yours: it is not like a pig, nor a calf nor like no fowl nor no monstrous beast. If I had brought forth this child without arms or legs, or that it were deformed, being a monstrous thing, I would never have blamed you to have complained to the bishop of me; but, to complain without a cause, I say, as I said before in my anthem, vos estis, you be, and have been, and will and shall be knaves, to complain of me without a cause reasonable.”

Whether it is true or not, this story expresses the poet’s qualities of wit, his broad humanity, and his sense of the dramatic. Skelton was a scholar; a number of his Latin poems are extant. He was made “laureate” through his rhetorical degrees at both Oxford and Cambridge and he tutored Prince Henry (later Henry VIII). “Regius orator” and poet-laureate to the court, he knew his Greek and Latin and was adept at the fashionably elaborate ornamentation that later came to be called Euphuism. His translation of Diodorus Siculus is called by its editors “the most extravagant specimen of aureation in our language.”

Yet he is remembered less for his for his classicism and his artifice than for poems notably vulgar in theme, unconventional in form, and colloquial in diction, with short lines and rhymes tumbling over each other in a way that seems akin to some of today’s performance poetry. The sound of a Skelton poem is unmistakable. Here are the opening lines of “The Tunnyng of Elynour Rummyng,” a portrait of the slattern who runs a public house. Skelton opens with paean to her ugliness, an inversion of the courtly blazon of the beloved.


TELL you I chyll,
If that ye wyll
A whyle be styll,
Of a comely gyll
That dwelt on a hyll :
But she is not gryll,
For she is somwhat sage
And well worne in age ;
For her vysage
It would aswage
A mannes courage.
Her lothely lere
Is nothynge clere,
But vgly of chere,
Droupy and drowsy,
Scuruy and lowsy ;
Her face all bowsy, . . .


There is a good deal more. Her patrons are of a piece with the good landlady in their inattention to grooming.


Some wenches come vnlased,
Some huswyues come vnbrased,
Wyth theyr naked pappes,
That flyppes and flappes ;
It wygges and it wagges,
Lyke tawny saffron bagges ;
A sorte of foule drabbes
All scuruy with scabbes :
Some be flybytten,
Some skewed as a kytten ;
Some wyth a sho clout
Bynde theyr heddes about ;
Some haue no herelace,
Theyr lockes about theyr face,
Theyr tresses vntrust,
All full of vnlust ;
Some loke strawry,
Some cawry mawry ;
Full vntydy tegges.


In another of Skelton’s poems one witnesses a micro-drama on a stage of twenty-eight lines. “Mannerly Margery Milk and Ale” looks a clever male female dialogue like Johnny Cash and June Carter’s “Jackson” or Frank Loesser’s “Baby, It’s Cold Outside,” until one pays attention to its dark scenario. In this reworking of the pastourelle it is a cleric rather than a knight who importunes the country girl who prudently tries to send him on his way. In the chorus lines one hears the lady indignantly prodding her horses onward, but the last verse makes it clear that he has had his way and afterwards expresses only contempt for her.


Ay, beshrew you! by my fay,
These wanton clerks be nice alway!
Avaunt, avaunt, my popinjay!
What, will ye do nothing but play?
Tilly, vally, straw, let be I say!
Gup, Christian Clout, gup, Jack of the Vale!
With Mannerly Margery Milk and Ale.

By God, ye be a pretty pode,
And I love you an whole cart-load.
Straw, James Foder, ye play the fode,
I am no hackney for your rod:
Go watch a bull, your back is broad!
Gup, Christian Clout, gup, Jack of the Vale!
With Mannerly Margery Milk and Ale.

Ywis ye deal uncourteously;
What, would ye frumple me? now fy!
What, and ye shall be my pigesnye?
By Christ, ye shall not, no hardely:
I will not be japèd bodily!
Gup, Christian Clout, gup, Jack of the Vale!
With Mannerly Margery Milk and Ale.

Walk forth your way, ye cost me nought;
Now have I found that I have sought:
The best cheap flesh that I ever bought.
Yet, for his love that all hath wrought,
Wed me, or else I die for thought.
Gup, Christian Clout, your breath is stale!
Go, Mannerly Margery Milk and Ale!
Gup, Christian Clout, gup, Jack of the Vale!
With Mannerly Margery Milk and Ale.

Such vigorous vernacular serves well not only for the genre portrait of Elynour, “woundersly wrynkled,/ Lyke a rost pygges eare.” In “Mannerly Margery” the lady’s words sound like transcriptions of cries from the street: “Ay, beshrew you,” “Gup,” “now fy.” It is as real and immediate as can be, though written in imitation of centuries of literary models.

Skelton was capable of other tones: the awe-struck tremendum of “woefully Arrayed” or the richly fanciful yet fiercely satirical allegory of “The Bowge of Court.” While others were as capable of solemnity, classicizing periods and high artificiality, Skelton distinguishes himself with a jumping, squirming, sneering, joking, speedy popular rhetoric that insists on being read out loud. He was not always highly regarded. To Pope, for instance, he was “beastly,” a writers with work “consisting almost wholly of Ribaldry, Obscenity, and Billingsgate Language.” Yet today’s readers are likely to receive more kindly the style for which In Colin Clout he offers a sort of defense.


For though my rhyme be ragged,
Tattered and jagged,
Rudely rain beaten,
Rusty and moth eaten,
If ye take well therewith,
It hath in it some pith.

Every Reader's Wyatt

This is the second of a series of essays meant to engage non-specialists, indeed, non-English majors, with the work of important poets. In spite of my own inclination toward the abstruse I mean to limit my focus to the discussion of only three or four of each writer’s best-known works while providing a bit of context and biography. I vow to avoid tempting byways and to include no footnotes whatsoever.


    Like other sixteenth century poets, Wyatt might be said to be an incidental author. None of his poetry was published until fifteen years after his death. He spent his life as a courtier, beginning with the post of Sewer Extraordinary to Henry VIII (nothing to do with waterworks) and serving in such roles as Marshal of Calais, Sheriff of Kent, Ambassador to Spain, and factotum. Proximity to power was not only rewarding, but dangerous as well; Wyatt was three times imprisoned. He very narrowly avoided the fate of his contemporary Surrey, famed as the perfect courtier, and the later Raleigh, both of whom were executed.
     A courtier in Wyatt’s day was a soldier and a statesman, but he was also expected to be a cultivated man with musical and artistic accomplishments and a mastery of elegant and sophisticated flirtation and love. Palace intrigues were erotic and personal as well as political, and, under the rule of an almost absolute monarch, each of these activities had its perils. In 1536 Wyatt fell under suspicion of adultery with Anne Boleyn and was imprisoned in the Bell Tower at the Tower of London. From his window he witnessed her execution and that of five of her reputed lovers. Surely only through the influence of powerful friends did the poet avoid the same scaffold. Anne Boleyn is commonly regarded as the subject of one of his most lovely and haunting poems.


Who so list to hount I know where is an hynde
but as for me helas I may no more,
the vayne travaill hath weried me so sore.
I ame of theim that farthest cometh behind;
yet may I by no meanes my weried mynde
drawe from the Deere but as she fleeth afore,
faynting I folowe. I leve of therefor.
sithens in a nett I seke to hold the wynde.
Who list her hount I put him owte of dowbte,
as well as I may spend his tyme in vain;
and graven with Diamondes in letters plain
There is written her faier neck rounde abowte;
noli me tangere, for Caesar's I ame;
and wylde for to hold though I seme tame.


     Thomas Wyatt (and Surrey) introduced the sonnet in English sometimes using what came to be called the English rhyme scheme. This poem is in part derived from Petrach’s 190th sonnet, “Una candida cerva,” but it is far from a translation. The initial ambiguity of love as hunting (like love as war) is balanced and heightened by the poet’s fruitless exhausted devotion, the picture of the Ovidian or courtly lover. To him joy in love is as unlikely as seeking to hold the wind in a net. The Latin tag “do not touch me” is often regarded as evidence that the beloved lady is already claimed by the king, but many lovers far from royal courts might experience the same frustration. Another might express similar sentiments as, “I Can’t Get No Satisfaction.” The original use of “noli me tangere” spoken by Christ to Mary Magdalene in the Latin Bible in a scene painted by Fra Angelico, Botticelli and many others, is complicated by its use (according to Solinus) as a warning to poachers against taking Caesar’s deer. The concluding line is a beautiful expression of the fierce emotion that necessarily accompanies tender feelings.
     Wyatt in another poem delineating the subtle ambivalences of desire figures the beloved as a wild beast once more. The mysterious evocative power of those lovers who “with naked foot” “stalked in my chamber” is outdone by the straightforwardness of the natural encounter of the second stanza. The lady, her gown falling off her shoulder in “a pleasant manner,” kisses the poet and asks “How like you this?” To me the conclusion, which lapses into a mild resentment, is anticlimactic, but the first two stanzas are sublime.


They fle from me that sometyme did me seke
With naked fote stalking in my chambre.
I have sene theim gentill, tame, and meke
That nowe are wyld and do not remembre
That sometyme they put theimself in daunger
To take bred at my hand; and nowe they raunge
Besely seking with a continuell chaunge.

Thancked be fortune it hath ben othrewise
Twenty tymes better, but ons in speciall,
In thyn arraye after a pleasaunt gyse,
When her lose gowne from her shoulders did fall,
And she me caught in her armes long and small,
Therewithall swetely did me kysse,
And softely said "dere hert, howe like you this?"

It was no dreme: I lay brode waking.
But all is torned thorough my gentilnes
Into a straunge fasshion of forsaking;
And I have leve to goo of her goodeness,
And she also to vse new fangilnes.
But syns that I so kyndely ame served,
I would fain knowe what she hath deserved.

 

     These are the poems I most remember, though Wyatt’s importance as a translator and importer of Continental forms and conventions to England had immense historical consequences. His first publisher Tottel said the country owed to him and Surrey “that our tong is able in that kynde [the French or Italian style] to do as praiseworthy as ye rest.” Tottel was speaking of what amounted to nearly the last gasp of courtly love, yet when Thomas Sackville, Earl of Dorset, memorialized Wyatt, he mentioned only his translations of the Psalms. To Thomas Warton he was the “first polished English satirist,” and his most “pleasing” work was moralizing on “the felicities of retirement” as in “Mine owne John Poynz” (a poem of over a hundred lines appended to this essay). If Wyatt’s love poetry represents a late efflorescence of the troubadour tradition, the lines addressed to John Poynz look forward to the measured pentameters of Dryden and then the masterful Pope.
     Like many another writer of sublime love poetry, Wyatt could also advocate an abstemious withdrawal. When obliged to leave the court he expressed what might be regarded as admirable detachment (philosophic or, in terms of poetry, Horatian, perhaps) though he had no hesitation about returning as soon as he was able. Assuredly a literary convention – he sticks fairly close to Luigi Alamanni’s tenth satire and uses the Italian’s terza rima (the first instance in English) – the praise of a life of retirement is doubtless also true, at least as true as the same man’s delight in the complex rivalries and games he here ridicules. One thinks of the magnificent Chinese poems reflecting on the civil service and, for some, the greater wisdom of a solitary life in the mountains, not for fear of losing innocence, but because one is sated and yet not satisfied with having had altogether too much of court life. The Wyatt who wrote these lines would have understood Yuán Méi, who at the age of thirty-two, resigned his post and spent the remainder of his career writing books of poetry and travel and cooking. If Wyatt is expressing sour grapes over his involuntary rustication, he has made as fine a wine of it as he had done with the sweets of love.


Myne owne John Poynz, sins ye delight to know
The cause why that homeward I me drawe,
And fle the presse of courtes wher soo they goo,
Rather then to lyve thrall, under the awe
Of lordly lokes, wrappid within my cloke,
To will and lust learning to set a lawe;
It is not for becawse I skorne or moke
The powar of them, to whome fortune hath lent
Change over us, of Right, to strike the stroke:
But true it is that I have allwais ment
Lesse to estime them then the common sort,
Of outward thinges that juge in their intent,
Withowt regarde what dothe inwarde resort.
I grawnt sumtime that of glorye the fyar
Dothe touche my hart: me lyst not to report
Blame by honour and honour to desyar.
But how may I this honour now atayne
That cannot dy the coloure blak a lyer?

My Poynz, I cannot frame me tune to fayne,
To cloke the trothe for praisse withowt desart,
Of them that lyst all vice for to retayne.
I cannot honour them that settes their part
With Venus and Baccus all theire lyf long;
Nor holld my pece of them allthoo I smart.
I cannot crowche nor knelle to do so grete a wrong,
To worship them, lyke gode on erthe alone,
That ar as wollffes thes sely lambes among.
I cannot with my wordes complayne and mone,
And suffer nought; nor smart wythout complaynt,
Nor torne the worde that from my mouthe is gone.

I cannot speke and loke lyke a saynct,
Use wiles for witt and make deceyt a pleasure,
And call crafft counsell, for proffet styll to paint.
I cannot wrest the law to fill the coffer
With innocent blode to fede my sellff fat,
And doo most hurt where most hellp I offer.
I am not he that can alow the state
Off highe Cesar and dam Cato to dye,
That with his dethe dyd skape owt off the gate
From Cesares handes (if Lyve do not lye)
And wolld not lyve whar lyberty was lost:
So did his hert the commonn wele aplye.
I am not he suche eloquence to boste,
To make the crow singing as the swane,
Nor call the lyon of cowarde bestes the moste
That cannot take a mows as the cat can:
And he that dithe for hunger of the golld
Call him Alessaundre; and say that Pan
Passithe Apollo in muske manyfolld;
Praysse Syr Thopas for a nobyll talle,
And skorne the story that the knyght tolld.
Praise him for counceill that is droncke of ale;
Grynee when he laugheth that bereth all the swaye,
Frowne when he frowneth and grone when he is pale;
On othres lust to hang boeth nyght and daye:
None of these pyntes would ever frame in me;
My wit is nought--I cannot lerne the waye.
And much the lesse of thinges that greater be,
That asken helpe of colours of devise
To joyne the mene with eche extremitie,
With the neryst vertue to cloke always the vise:
And as to pourpose like wise it shall fall,
To presse the vertue that it may not rise;
As dronkenes good felloweshippe to call;
The frendly ffoo with his dowble face
Say he is gentill and courtois therewithall;
And say that Favell hath a goodly grace
In eloquence; and crueltie to name
Zele of justice and chaunge in tyme and place;
And he that suffreth offence withoute blame
Call him pitefull; and him true and playn
That raileth rekles to every mans shame.
Say he is rude that cannot lye and fayn;
The letcher a lover; and tirannye
To be the right of a prynces reigne.
I cannot, I. No, no, it will not be.
This is the cause that I could never yet
Hang on their slevis that way as thou maist se
A chippe of chaunce more then a pownde of witt.
This maketh me at home to hounte and to hawke
And in fowle weder at my booke to sitt.
In frost and snowe then with my bow to stawke,
No man doeth marke where so I ride or goo;
In lusty lees at libertie I walke,
And of these newes I fele nor wele nor woo,
Sauf that a clogg doeth hang yet at my hele:
No force for that for it is ordered so,
That I may lepe boeth hedge and dike full well.
I ame not now in Ffraunce to judge the wyne,
With saffry sauce the delicates to fele;
Nor yet in Spaigne where oon must him inclyne
Rather then to be, owtewerdly to seme.
I meddill not with wittes that be so fyne,
No Fflaunders chiere letteth not my sight to deme
Of black and white, nor taketh my wit awaye
With bestylnes, they beeste do so esteme;

Nor I ame not where Christe is geven in pray
For mony, poison and traison at Rome,
A commune practise used nyght and daie:
But here I ame in Kent and Christendome
Emong the muses where I rede and ryme;
Where if thou list, my Poynz, for to come,
Thou shalt be judge how I do spend my tyme.