Page:Dictionary of National Biography volume 62.djvu/267

 out undergoing formal trial. The ‘Motto’ had been defiantly dedicated ‘To anybody,’ and, falling under the notice of John Taylor (1580–1653) [q. v.] the water-poet, was good-humouredly satirised by that rhymester in ‘Et habeo, et careo, et curo’ (‘I have, I want, I care’); it was also unimpressively criticised in ‘An Answer to “Wither's Motto,” by T.G.’ [perhaps Thomas Gainsford [q. v.] Oxford, 1625.

Of equally admirable literary quality with ‘Fidelia’ was another love poem which was probably written at the same period. This was called ‘Faire-Virtve, the Mistresse of Phil'Arete. Written by himself, Geo. Wither’ (London, printed for John Grismond, 1622, 8vo; reprinted in 1633 with the ‘Juvenilia’ of that year). According to the prefatory epistle of John Marriott the stationer, this was one of Wither's earliest performances; imperfect copies had already gone abroad, and Wither had permitted the publication on condition that no author's name appeared. The poem is a rapturous panegyric (mainly in heptasyllabic rhyme) of a half-imaginary beauty.

‘Faire Virtue’ was Wither's final contribution to pure literature, and few of his later works fulfil his earlier poetic promise. Thenceforth his writings consist of pious exercises and political diatribes. Like his greater contemporary Milton, he became a convinced puritan, and he made it a point of conscience to devote his ready pen solely to the advancement of the political and religious causes with which he had identified himself. In the volume of pious poems called ‘Halelujah’ (1641) his old power seemed to revive, but nowhere else in the wide range of his religious verse did his thought or diction reach a genuinely poetic level. The long series of his religious works opened with a learned prose treatise in folio, entitled ‘A Preparation to the Psalter’ (London, printed by Nicholas Okes, 1619, folio, with the title-page engraved by Delaram, and a portrait of Wither from the same hand, which is now rarely found with the book; dedicated to Charles, prince of Wales). There quickly followed ‘Exercises Vpon the first Psalme. Both in Prose and Verse’ (London, printed by Edward Griffin for John Harrison, 1620, 8vo; dedicated to Sir John Smith, knt., son of Sir Thomas Smith, governor of the East India Company). A more ambitious venture of the same character bore the title ‘The Songs of the Old Testament. Translated into English Measures: preserving the Naturall Phrase and genuine sense of the Holy Text: and with as little circumlocution as in most prose Translations. To every song is added a new and easie Tune, and a short Prologue also’ (London, printed by T. S. 1621, 8vo; dedicated to the archbishop of Canterbury, Abbot).

Wither's reputation was now assured. Secular and religious critics were equally enthusiastic in his praises, and in 1620 his popularity was paid a very equivocal compliment. A collection of his compositions was surreptitiously issued under the title: ‘The Workes of Master George Wither, of Lincolns-Inne, Gentleman, Containing Satyrs, Epigrammes, Eclogues, Sonnets and Poems. Whereunto is annexed a Paraphrase on the Creed, and the Lords Prayer’ (London, printed by John Beale for Thomas Walkley, 1620, 8vo). Wither retorted by issuing an authentic collection of his finest works, called ‘Jvvenilia. A collection of those Poemes which were heretofore imprinted, and written by George Wither’ (London, printed for John Budge, 1622, 8vo, with an engraved title). There was a reissue of 1626 (‘for Robert Allot’). A new edition of 1633 included ‘Faire Virtue.’ It is mainly on the contents of this volume that Wither's position as a poet depends.

Anxious to secure the full profits of his growing literary work, Wither sought an exceptional mode of guaranteeing his rights in his next volume. The book was called ‘The Hymnes and Songs of the Church,’ and Orlando Gibbons supplied ‘the musick.’ The volume was divided into two parts—the first consisting of ‘Canonicall Hymnes,’ adapted from scripture and other sources, and the second consisting of original ‘Spirituall Songs’ for various seasons and festivals. Wither asserts that he was engaged on the work for three years, and he obtained by letters patent on 17 Feb. 1623 for a period of fifty-one years, not only a grant of monopoly or full copyright in the work, but also a compulsory order directing its ‘insertion’ and ‘addition’ to every copy of the authorised ‘Psalm-book in meeter’ which the Stationers' Company enjoyed the privilege under earlier patents of publishing (, iv. 12, seq.; cf., Acta Publica, xvii. 454). The volume first appeared in 1623, in at least four forms. There was a 16mo impression ‘printed for George Wither;’ another in quarto, ‘printed by the assignes of George Wither … cum Privilegio Regis Regali;’ a third in 8vo, ‘printed by the assignes of George Wither, 1623, cum Privilegio Regis Regali;’ and a fourth in folio ‘printed by the assignes of George Wither.’ The Stationers' Company regarded Wither's patent and independent method of business as a serious infringement of their privileges. Book-