{"id":2760,"date":"2022-07-02T16:25:08","date_gmt":"2022-07-02T16:25:08","guid":{"rendered":"http:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760"},"modified":"2022-07-02T17:03:09","modified_gmt":"2022-07-02T17:03:09","slug":"a-description-of-the-passion-of-love-misplaced","status":"publish","type":"post","link":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760","title":{"rendered":"A Description of the Passion of Love Misplaced (from Nature&#8217;s Picture(s))"},"content":{"rendered":"<p>A lady on the ground a-mourning lay<span id='easy-footnote-1-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-1-2760' title='This poem is taken from Margaret Cavendish\u2019s &lt;i&gt;Natures Pictures, drawn by fancies pencil to the life&lt;\/i&gt; (London, 1656), reprinted with textual changes as &lt;i&gt;Natures Picture&lt;\/i&gt; (London, 1671). The first part of &lt;i&gt;Nature\u2019s Pictures&lt;\/i&gt; (a section entitled \u201cHer Excellencies Tales in Verse\u201d in 1656 and \u201cSeveral Feigned Stories in Verse\u201d in 1671) is made up of several verse stories, told by different storytellers, similar in structure to Geoffrey Chaucer\u2019s &lt;i&gt;Canterbury Tales&lt;\/i&gt; (see also &lt;a href=&quot;https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/2021\/02\/19\/the-description-of-the-violence-of-love\/&quot;&gt;\u201cA Description of the Violence of Love\u201d&lt;\/a&gt; on this site. This poem offers a layered and complicated set of narratives and speeches: within the frame of the original tale, a woman complains of her unrequited desire, and is corrected by a passing man on the virtues of Platonic Love. Following the tale, in the larger frame narrative (marked out with italics), the men in the audience offer critiques of the male character\u2019s speech and preach the virtue of bodily pleasures, only to have that discourse corrected by a woman storyteller in their group.&lt;\/p&gt;\n&lt;p&gt;We chose this poem to edit for reasons of both form and content. Formally, we liked the almost chiasmic structure of the entire poem, where both within and without the frame of the tale the different genders provide their different takes on the question of the passion of love. The title is interestingly ambiguous: is the \u201cpassion of love\u201d \u201cmisplaced\u201d because (as in the original narrative) a woman has fallen in love with someone who does not return her affections, or is the \u201cmisplacement\u201d in the title a reference to the debate in the commentary that follows the poem, in which different voices provide their perspectives on whether love is a passion of the body, or of the mind or soul, whether love should be placed on or experienced in the physical world, or as an immaterial, transcending thing. Many debates around the nature and value of Platonic Love sprang up thanks to Queen Henrietta Maria\u2019s interest in the topic; as Margaret Cavendish served as a lady-in-waiting in Henrietta Maria\u2019s court, the debate about the value of physical v. immaterial understandings of love may be an oblique reference to those conversations. The discussion may also allude not just to poetic but to philosophical debates of the seventeenth century: when the woman in the original frame argues against the man that \u201cNature hath the soul so fixed \/ Unto the body, . . . \/ That nothing can divide or disunite [them],\u201d she could be voicing Cavendish\u2019s own materialist view that the soul cannot be divorced or split from the body because the imagination of the soul as a kind of immaterial substance stems from a philosophical error. (Compare the philosophy of her contemporary Ren\u00e9 Descartes, who believed the body to be material and the soul to be immaterial.)&lt;\/p&gt;\n&lt;p&gt;This poem was collaboratively edited by Liza Blake and Roxy Moldovanu. For our edition we collated the two editions against one another, and with one exception (at line 84) preferred the 1671 variants to those in 1656. We modernized the text, including updating spelling and punctuation, and noted textual variants in notes. Other notes include glosses, and many of those glosses rely on the online version of Mike Dixon-Kennedy\u2019s \u201cEncyclopedia of Greco-Roman Mythology\u201d (&lt;a href=&quot;https:\/\/legacy-abc-clio-com.myaccess.library.utoronto.ca\/reader.aspx?isbn=9781576074886&quot;&gt;https:\/\/legacy-abc-clio-com.myaccess.library.utoronto.ca\/reader.aspx?isbn=9781576074886&lt;\/a&gt;), as well as &lt;a href=&quot;http:\/\/britannica.com&quot;&gt;britannica.com&lt;\/a&gt;, &lt;a href=&quot;http:\/\/newworldencyclopedia.org&quot;&gt;newworldencyclopedia.org&lt;\/a&gt;, and the &lt;i&gt;Oxford English Dictionary Online&lt;\/i&gt; (&lt;a href=&quot;http:\/\/www.oed.com&quot;&gt;oed.com&lt;\/a&gt;). Where the early editions (1656 or 1671) use indents to note changes of speakers or stanzas, we have used line breaks.'><sup>1<\/sup><\/a><\/span><br \/>\nComplaining to the gods, and thus did say:<\/p>\n<p>\u201cYou gods,\u201d said she, \u201cwhy do you me torment?<br \/>\nWhy give you life, without the mind\u2019s content?<br \/>\nWhy do you passions in a mind create,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0 5<br \/>\nThen leave it all to Destiny and Fate?<br \/>\nWith knots and snarls they spin the thread of life,<span id='easy-footnote-2-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-2-2760' title='they spin the thread of life] In Ancient Greek and Roman mythology, three goddesses known as the Fates spun a thread of human life, which determined a person\u2019s destiny.'><sup>2<\/sup><\/a><\/span><br \/>\nThen weave it cross and make a web of strife.<br \/>\nCome, Death\u2014though Fates are cross, yet thou\u2019rt a friend,<br \/>\nAnd in the grave dost peace and quiet send.\u201d\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 10<\/p>\n<p>It chanced a gentleman that way came by,<br \/>\nAnd seeing there a weeping beauty lie:<\/p>\n<p>\u201cAlas, dear lady, why do you so weep,<br \/>\nUnless your tears you mean the gods shall keep?<br \/>\nJove<span id='easy-footnote-3-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-3-2760' title='Jove] Jove, also known as Jupiter, was king of the Roman gods.'><sup>3<\/sup><\/a><\/span> will present those tears to Juno<span id='easy-footnote-4-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-4-2760' title='Juno] Juno was the queen of the Roman gods, and was married to Jove.'><sup>4<\/sup><\/a><\/span> fair,\u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 15<br \/>\nFor pendants and for necklaces to wear,<br \/>\nAnd so present that breath to Juno fair,<br \/>\nThat she may always move in perfumed air.<br \/>\nForbear, forbear, make not the world so poor;<br \/>\nSend not such riches, for the gods have store.\u201d\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 20<\/p>\n<p>\u201cI\u2019m one,\u201d<span id='easy-footnote-5-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-5-2760' title='\u201cI\u2019m one,\u201d] I am 1656'><sup>5<\/sup><\/a><\/span> said she, \u201cto whom Fortune\u2019s a foe,<br \/>\nCrossing my love, working my overthrow:<span id='easy-footnote-6-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-6-2760' title='working] and works 1656'><sup>6<\/sup><\/a><\/span><br \/>\nA man which to Narcissus<span id='easy-footnote-7-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-7-2760' title='Narcissus] Narcissus is a Greek figure known for his beauty. A nymph named Echo fell in love with him. He did not return her love, and she wasted away to just a voice. He was then cursed to fall in love with his own reflection in a pool of water.'><sup>7<\/sup><\/a><\/span> might compare<br \/>\nFor youth and beauty\u2014and the graces fair<br \/>\nDo<span id='easy-footnote-8-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-8-2760' title='Do] Doth 1656'><sup>8<\/sup><\/a><\/span> him adorn\u2014on him my love is placed,\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 25<br \/>\nBut his neglect doth make my life to waste;<br \/>\nMy soul doth mourn; my thoughts no rest can take;<br \/>\nHe<span id='easy-footnote-9-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-9-2760' title='He] And 1656'><sup>9<\/sup><\/a><\/span> by his scorn doth me unhappy make.\u201d<br \/>\nWith that she cried, \u201cO Death,\u201d said she, \u201ccome quick,<br \/>\nAnd in my heart thy leaden arrow<span id='easy-footnote-10-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-10-2760' title='And in my heart thy leaden arrow] It is strange that the Lady imagines Death as an archer here: when personified in Western culture, Death typically carries a scythe. Arrows are more commonly attributed to Cupid, the Roman god of love, whose arrows cause lust or love in the person struck.'><sup>10<\/sup><\/a><\/span> stick!\u201d\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 30<\/p>\n<p>\u201cTake comfort, lady, grieve and weep<span id='easy-footnote-11-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-11-2760' title='lady, grieve and] Lady green nor 1656. \u201cGreen\u201d may mean \u201c[u]naltered by time or natural processes; fresh, new\u201d or \u201cimmature, undeveloped\u201d (OED)\u2014in other words, the first edition\u2019s description of the lady as \u201cgreen\u201d may have positive or negative connotations.'><sup>11<\/sup><\/a><\/span> no more,<br \/>\nFor Nature handsome men hath more in store.<br \/>\nBesides, dear lady, beauty will decay,<br \/>\nAnd with that beauty love will flee away.<br \/>\nIf you take time, this heat of love will waste,<span id='easy-footnote-12-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-12-2760' title='waste] The OED defines \u201cwaste\u201d as \u201c[t]o lose strength, health, or vitality; to lose flesh or substance, pine, decay; to become gradually weak or enfeebled.\u201d'><sup>12<\/sup><\/a><\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 35<br \/>\nBecause \u2019tis only on a beauty placed,<br \/>\nBut if your love did from his virtue spring,<span id='easy-footnote-13-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-13-2760' title=' But if your love did from his virtue spring,]See the short introduction in the first note for a discussion of the discourse of Platonic Love this section represents.'><sup>13<\/sup><\/a><\/span><br \/>\nYou might have loved, though not so fond<span id='easy-footnote-14-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-14-2760' title='fond] Here, \u201cfond\u201d presumably means \u201c[f]oolishly tender; over-affectionate, doting\u201d (OED).'><sup>14<\/sup><\/a><\/span> have been.<br \/>\nThe love of virtue is for to admire<br \/>\nThe soul, and not the body to desire:\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 40<br \/>\nThat\u2019s a gross<span id='easy-footnote-15-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-15-2760' title='gross] Here, \u201cgross\u201d presumably means \u201c[e]xtremely coarse in behaviour or morals; brutally lacking in refinement or decency\u201d (OED).'><sup>15<\/sup><\/a><\/span> love, which only dull beasts use,<br \/>\nBut noble man to love the soul will choose.<br \/>\nBecause the soul is like a deity,<br \/>\nTherein<span id='easy-footnote-16-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-16-2760' title='Therein] There 1656'><sup>16<\/sup><\/a><\/span> pure love will live eternally.\u201d<\/p>\n<p>\u201cO sir, but Nature hath the soul so fixed\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 45<br \/>\nUnto the body, and such passions mixed,<br \/>\nThat nothing can divide or disunite,<br \/>\nUnless that Death will separate them quite,<br \/>\nFor when the senses in delights agree,<br \/>\nThey bind the soul, make<span id='easy-footnote-17-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-17-2760' title='They bind the soul, make] Binds fast the Soul, makes 1656'><sup>17<\/sup><\/a><\/span> it a slave to be.\u201d\u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 50<\/p>\n<p><i>He answered<\/i>.<br \/>\n\u201cIf that the soul in man<span id='easy-footnote-18-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-18-2760' title='soul in man] Soul 1656'><sup>18<\/sup><\/a><\/span> should give consent<br \/>\nIn every thing the senses to content,<br \/>\nNo peace but war amongst mankind would<span id='easy-footnote-19-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-19-2760' title='would] will 1656'><sup>19<\/sup><\/a><\/span> be,<br \/>\nAnd desolation<span id='easy-footnote-20-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-20-2760' title='And desolation] Ruine and Desolation 1656. \u201cDesolation\u201d may mean \u201c[t]he condition of a place which by hostile ravaging or by natural character is unfit for habitation; waste or ruined state; dreary barrenness\u201d or \u201c[d]eprivation of comfort or joy; dreary sorrow; grief\u201d (OED).'><sup>20<\/sup><\/a><\/span> would have victory.<br \/>\nNo man could tell<span id='easy-footnote-21-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-21-2760' title='No man could tell] Few Men can call 1656'><sup>21<\/sup><\/a><\/span> or challenge what\u2019s his own;\u00a0\u00a0\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 55<br \/>\nHe would be master that is strongest grown.<span id='easy-footnote-22-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-22-2760' title='He would be master that is strongest grown.] For he would Master be that was most strong 1656. With the line above, the 1656 edition argues that no man would have private property because those in power determine the operation of society. However, the 1671 version of this couplet, as implemented here, separates these two ideas; the couplet reads that no man has private property, and strength gives the right to rule. The suggestion of a dystopian version of society where might makes right may be an oblique reference to the \u201cstate of nature\u201d as described in Thomas Hobbes\u2019s &lt;i&gt;Leviathan&lt;\/i&gt;, published in 1651.'><sup>22<\/sup><\/a><\/span><br \/>\nLady, love virtue, and let beauty die,<br \/>\nAnd in the grave of ruins let it lie.\u201d<\/p>\n<p>With that she rose, and with great joy, said she:<br \/>\n\u201cFarewell, fond love and foolish vanity.\u201d\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0 \u00a0 60<\/p>\n<p><i>The men condemned the tale because, said they,<br \/>\n\u201cNone but a fool would preach so, wise men pray.\u201d<\/i><span id='easy-footnote-23-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-23-2760' title='&lt;i&gt;\u201cNone but a fool would preach so, wise men pray.\u201d&lt;\/i&gt;] This line is ambiguous, but the editors understand it to mean \u201cno one would believe in this [the moral of the tale between the lady and the man], we hope everyone who is wise would agree with our dismissal.\u201d Had we used a semicolon instead of the comma, the line would say that only fools would advocate for this tale, and (as additional information) that wise men would pray (perhaps suggesting a distinction between religious celibate life and the follies of love).'><sup>23<\/sup><\/a><\/span><br \/>\n<i>\u201cBut ladies,<\/i><span id='easy-footnote-24-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-24-2760' title='\u201c&lt;i&gt;But ladies,&lt;\/i&gt;] &lt;i&gt;Ladyes, but &lt;\/i&gt;1656'><sup>24<\/sup><\/a><\/span><i> hear me,\u201d did another say:<\/i><\/p>\n<p>To love but one is a great fault,<br \/>\nFor Nature otherwise us<span id='easy-footnote-25-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-25-2760' title='us] In both the 1656 and 1671 editions, this line reads \u201cFor Nature otherwise is taught.\u201d The editors have emended \u201cis\u201d to \u201cus\u201d because Nature is the teacher in this stanza, not the student.'><sup>25<\/sup><\/a><\/span> taught:\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0 65<br \/>\nShe caused varieties for us to taste,<br \/>\nAnd other appetites in us she placed,<br \/>\nAnd caused dislike in us to rise,<br \/>\nTo surfeit when we gormandize,<br \/>\nFor of one dish we glut our palate,\u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0 70<br \/>\nAlthough it be but of a salad.<br \/>\nWhen Solomon<span id='easy-footnote-26-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-26-2760' title='Solomon] &lt;i&gt;Salomon&lt;\/i&gt; 1656. Solomon was a King of Israel, primarily written about in the Bible. He is known for his great wisdom and piety. He also had a large harem of 700 wives and 300 concubines. The 1656 edition\u2019s spelling \u201cSalomon\u201d may be a pun on the word \u201csalmon\u201d within the stanza\u2019s larger discussion of food.'><sup>26<\/sup><\/a><\/span> the Wise did try<br \/>\nOf all things underneath the sky,<br \/>\nAlthough he found it vanity,<br \/>\nYet by it Nature made us free.\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 75<br \/>\nFor by the change, her works do live<br \/>\nBy several forms that she doth give,<br \/>\nSo that inconstancy is Nature\u2019s play,<br \/>\nAnd we, her various works, must her obey.<\/p>\n<p>A woman said that men were foolish lovers,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 80<br \/>\nAnd whining passions love oft<span id='easy-footnote-27-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-27-2760' title='love oft] often times 1656. The editors understand this couplet as Cavendish returning to the frame of the narrative, but she has not marked it with italics or an indentation as she has above.'><sup>27<\/sup><\/a><\/span> discovers.<br \/>\n\u201cThey\u2019re full of thoughts,\u201d said she, \u201cyet never pleased,<br \/>\nAlways complaining, and yet never eased;<br \/>\nThey<span id='easy-footnote-28-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-28-2760' title='They] They\u2019l 1671. Although the editors have preferred the 1671 edition for all other substantive textual variants, we have preferred the 1656 edition of this line, and have therefore kept \u201cThey\u201d instead of the 1671 \u201cThey\u2019l\u201d.'><sup>28<\/sup><\/a><\/span> sigh, they mourn, they groan, they make great moan,<br \/>\nThey\u2019ll sit cross-legged with folded arms alone.\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0\u00a0 85<br \/>\nSometimes their dress is careless with despair;<br \/>\nWith hopes raised up, \u2019tis<span id='easy-footnote-29-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-29-2760' title='\u2019tis] as 1656'><sup>29<\/sup><\/a><\/span> costly, rich, and rare,<br \/>\nSetting their looks and faces in a frame,<br \/>\nTheir garb\u2019s affected by their mistress\u2019s<span id='easy-footnote-30-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-30-2760' title='mistress\u2019s] Although the editors have modernized this as \u201cmistress\u2019s\u201d it could also have been modernized as \u201cmistresses\u2019\u201d; we chose the singular possessive as the actions described seem like a typical description of a man pining for one particular woman in early modern poetry.'><sup>30<\/sup><\/a><\/span> name.<br \/>\nFlattering their loves, forswearing; then each boasts<span id='easy-footnote-31-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-31-2760' title='forswearing; then each boasts] forswear, or else ^they^ boasts 1656. In at least six copies of the 1656 text, this line has the word \u201cthey\u201d inserted by hand (in two copies, held at the Hendrick Conscience Heritage Library, Antwerp, Belgium [shelfmark C 1039:1 ex:1] and the Leiden University Library, Leiden, Netherlands [shelfmark 1407 C 20:1], the insertion is in Cavendish\u2019s own hand). After this the text uses the third-person plural pronouns until the end of the stanza. The 1671 edition offers a different correction; it instead uses the pronoun \u201che\u201d. The use of \u201che\u201d instead of \u201cthey\u201d could be caused by a desire to keep the more perfect rhyme (the insertion of \u201cthey\u201d would necessitate a change of \u201cboasts\u201d to \u201cboast\u201d, which would make \u201cboast\u201d and \u201ccoasts\u201d an imperfect rhyme). However, given that the change is carried to later pronouns in the stanza as well, it could also be a substantive edit, wherein, in the 1671 edition, this one man symbolizes (only) the sort of man that the narrator (and, by extension, potentially Cavendish) disapproves of, suggesting that perhaps not all men (who might be encompassed by the 1656\u2019s \u201cthey\u201d) fit into this category.'><sup>31<\/sup><\/a><\/span>\u00a0 90<br \/>\nWhat valiant deeds he\u2019s<span id='easy-footnote-32-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-32-2760' title='he\u2019s] they\u2019ve 1656'><sup>32<\/sup><\/a><\/span> done in foreign coasts:<br \/>\nThrough what great dangers his adventures run,<span id='easy-footnote-33-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-33-2760' title='Through what great dangers his adventures run,] What hard adventures, and through dangers run, 1656'><sup>33<\/sup><\/a><\/span><br \/>\nSuch acts as Hercules<span id='easy-footnote-34-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-34-2760' title='Hercules] Heracles, better known as Hercules, the Roman version of his name, is a famous Greek hero in classical mythology. He is a demigod and son of Zeus. He is famous for performing the 12 Great Labours of Heracles. These labours included slaying beasts and monsters, and capturing rare items and creatures.'><sup>34<\/sup><\/a><\/span> had never done,<br \/>\nThat everyone that hears doth fear his<span id='easy-footnote-35-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-35-2760' title='his] their 1656'><sup>35<\/sup><\/a><\/span> name,<br \/>\nAnd every tongue that speaks sounds forth his<span id='easy-footnote-36-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-36-2760' title='his] their 1656'><sup>36<\/sup><\/a><\/span> fame. 95<br \/>\nAnd thus their tongues extravagantly move,<br \/>\nCaused by vainglorious, foolish, amorous love,<br \/>\nWhich only those of his own sex approve.\u201d<span id='easy-footnote-37-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-37-2760' title='those of his own sex approve.\u201d] the masculine Sex do prove 1656. \u201cApprove\u201d may mean \u201c[t]o make good (a statement or position); to show to be true, prove, demonstrate\u201d or \u201c[t]o pronounce to be good, commend\u201d (OED). In other words, men may prove true, or may approve of one another\u2019s truth.'><sup>37<\/sup><\/a><\/span><\/p>\n<p><i>But when their rallery<\/i><span id='easy-footnote-38-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-38-2760' title='&lt;i&gt;rallery&lt;\/i&gt;] Here \u201crallery\u201d means raillery or banter.'><sup>38<\/sup><\/a><\/span><i> was past,<br \/>\nThe tale upon a man was cast;<\/i><i>\u00a0\u00a0\u00a0 <\/i><i>\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 <\/i><i>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 \u00a0 <\/i>100<br \/>\n<i>Then crying peace to all that talking were,<br \/>\nThey were bid hold their tongues and lend an ear.<\/i><span id='easy-footnote-39-2760' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760#easy-footnote-bottom-39-2760' title='&lt;i&gt;They were bid hold their tongues and lend an ear.&lt;\/i&gt;] &lt;i&gt;To hold their tongues, and each to lend an ear&lt;\/i&gt; \/ &lt;i&gt;To lissen to a Tale, their words forbear.&lt;\/i&gt; 1656 [The 1656 version of this poem has an additional line, deleted in the 1671 edition.] '><sup>39<\/sup><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A lady on the ground a-mourning lay Complaining to the gods, and thus did say: \u201cYou gods,\u201d said she, \u201cwhy do you me torment? Why give you life, without the mind\u2019s content? Why do you passions in a mind create,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0 5 Then leave it all to Destiny and &hellip; <a href=\"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2760\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">A Description of the Passion of Love Misplaced (from Nature&#8217;s Picture(s))<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2760","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts\/2760","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2760"}],"version-history":[{"count":8,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts\/2760\/revisions"}],"predecessor-version":[{"id":2769,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts\/2760\/revisions\/2769"}],"wp:attachment":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2760"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2760"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}