Castara The Third Edition of 1640; Edited and Collated with the Earlier Ones of 1634, 1635 — Context and Discussion

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Habington, William, 1605-1654, Arber, Edward, 1836-1912 [Editor] Project Gutenberg 2014 Not confirmed
English poetry -- Early modern, 1500-1700; Love poetry, English Readers of public-domain and historical texts
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Words 39,817
Reading time 174 min
Text sections 23

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An editorial note on William Habington's 'Castara' (third edition, 1640), examining the poet's diction, dialogue, and descriptive choices in love poetry, wedded happiness, and sacred verse, with attention to the work's structural evolution across editions.
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ature had her selfe undone. But if you when this you heare Fall downe murdered through your eare, Begge of _Jove_ that you may have In her cheeke a dimpled grave. Lilly, Rose, and Violet, Shall the perfum'd Hearse beset While a beauteous sheet of Lawne, O're the wanton corps is drawne: And all lovers use this breath; "Here lies _Cupid_ blest in death."

_Upon_ CUPID'S _death and buriall in_ CASTARA'S _cheeke_.

_Cupids_ dead. Who would not dye, To be interr'd so neere her eye? Who would feare the sword, to have Such an Alabaster grave? O're which two bright tapers burne, To give light to the beauteous Urne. At the first _Castara_ smil'd, Thinking _Cupid_ her beguil'd, Onely counterfeiting death. But when she perceiv'd his breath Quite expir'd: the mournefull Girle, To entombe the boy in Pearle, Wept so long; till pittious _Jove_, From the ashes of this Love, Made ten thousand _Cupids_ rise, But confin'd them to her eyes: Where they yet, to shew they lacke No due sorrow, still weare blacke. But the blacks so glorious are Which they mourne in, that the faire Quires of starres, look pale and fret, Seeing themselves out shin'd by jet.

Fly on thy swiftest wing, ambitious Fame, And speake to the cold North _Castara's_ name: Which very breath will, like the East wind, bring The temp'rate warmth, and musicke of the Spring. Then from the Articke to th' Antarticke Pole, Haste nimbly and inspire a gentler soule, By naming her, ith' torrid South; that he May milde as _Zephirus_ coole whispers be. Nor let the West where heaven already joynes, The vastest Empire, and the wealthiest Mines: Nor th' East in pleasures wanton, her condemne, For not distributing her gifts on them. For she with want would have her bounty meete. Loves noble charity is so discreete.

_A Dialogue betweene_ ARAPHILL _and_ CASTARA.

ARAPH. Dost not thou _Castara_ read Am'rous volumes in my eyes? Doth not every motion plead What I'de shew, and yet disguise? Sences act each others part. Eyes, as tongues, reveale the heart.

CAST. I saw love, as lightning breake From thy eyes, and was content Oft to heare thy silence speake. Silent love is eloquent. So the sence of learning heares, The dumbe musicke of the Spheares.

ARAPH. Then there's mercy in your kinde, Listning to an unfain'd love, Or strives he to tame the wind, Who would your compassion move? No y'are pittious, as y're faire. Heaven relents, o'recome by prayer.

CAST. But loose man too prodigall Is in the expence of vowes; And thinks to him kingdomes fall When the heart of woman bowes: Frailty to your armes may yeeld; Who resists you, wins the field.

ARAPH. Triumph not to see me bleede, Let the Bore chased[9] from his den, On the wounds of mankinde feede. Your soft sexe should pitty men. Malice well may practise Art, Love hath a transparent heart.

CAST. Yet is love all one deceit, A warme frost, a frozen fire. She within her selfe is great, Who is slave to no desire. Let youth act, and age advise, And then love may finde his eyes.

ARAPH. _Hymens_ torch yeelds a dim light, When ambition joynes our hands. A proud day, but mournefull night, She sustaines, who marries lands. Wealth slaves man, but for their Ore, Th' Indians had beene free, though poore.

CAST. And yet wealth the fuell is Which maintaines the nuptiall fire, And in honour there's a blisse. Th' are immortall who aspire. But truth sayes, no joyes are sweete, But where hearts united meete.

ARAPH. Roses breath not such a sent, To perfume the neighbr'ing groves; As when you affirme content, In no spheare of glory moves. Glory narrow soules combines: Noble hearts Love onely joynes.

[9] chased. 1634, 1635.

_To_ CASTARA, _Intending a journey into the Countrey_.

Why haste you hence _Castara_? can the earth, A glorious mother, in her flowry birth, Shew Lillies like thy brow? Can she disclose In emulation of thy cheeke, a Rose, Sweete as thy blush? Upon thy selfe then set Just value, and scorne it, thy counterfet. The Spring's still with thee; But perhaps the field, Not warm'd with thy approach, wants force to yeeld, Her tribute to the Plough; O rather let Th' ingratefull earth for ever be in debt To th' hope of sweating industry, than we Should starve with cold, who have no heat but thee. Nor feare the publike good. Thy eyes can give A life to all, who can deserve to live.

_Upon_ CASTARA'S _departure_.

William Habington's Castara, as presented in Edward Arber's 1895 edition collating the first three editions (1634, 1635, 1640), reveals a poet attentive to the precise diction of devotion and the measured cadence of courtly compliment. The work is not a single sequence but a triptych: poems of courtship, then of wedded life, and finally sacred verse, each prefaced by a prose 'Character' defining the ideal mistress, wife, and holy man. Habington's voice is notably restrained, favouring metaphysical conceits that are anchored in domestic and natural imagery rather than extravagant hyperbole.

Diction of Devotion and Restraint

Habington's lexical choices consistently temper passion with moral gravity. In 'To Castara, How happy, though in an obscure fortune,' he writes of being 'throwne downe below our feare' and questions 'Natures care / In our provision,' using the homely image of a 'feather'd garment fit for every bird' to argue for contentment. The word 'innocence' is rhymed with 'sence,' linking moral purity to sensory experience. Elsewhere, in 'To Vaine hope,' he dismisses ambition as a 'dreame of madmen' and a 'wanton breath,' contrasting the 'gaudy saile' of fools with the 'secure at ease' of the cabin. The poet's restraint is evident in his avoidance of erotic excess; even in love, his language remains chaste, preferring 'shadowes of true blisse' to explicit desire.

Dialogue and the Address to Castara

Many poems are structured as direct addresses to Castara, creating an intimate yet formal dialogue. Habington uses the second-person pronoun 'thou' and 'thee' consistently, as in 'To Castara, What can the freedome of our love enthrall?' where he imagines a 'forsaken cave' as a retreat, and 'each wild beast' as an 'avaritious Courtier.' This apostrophe allows the poet to articulate ideals of mutual fidelity and self-sufficiency. The dialogue is one-sided—Castara never speaks—but her presence is invoked through the poet's questions and hypotheticals. In the elegy for the Earl of Saint Albans, the address shifts to the deceased: 'Bright Saint, thy pardon, if my sadder verse,' momentarily breaking the love-dialogue to mourn, before promising to 'returne to Love and you.'

Descriptive Economy in Natural Imagery

Habington's descriptions of nature are spare and functional, often serving as moral analogies. In the poem beginning 'Were we by fate throwne downe,' he notes that nature 'apparels Lillies in their white' and 'in damaske doth attire the Rose,' using colour and fabric to suggest innocence and beauty. The violet is 'purple cloathed,' a small but precise detail. These images are not ornamental but argumentative: they support the claim that divine providence cares for all creation. In the elegy, the 'amaz'd marriner' who 'lookes up but findes no starres' becomes a figure for grief and disorientation. The sea is a 'tempestuous desart,' a phrase that compresses vastness and barrenness into two words. Habington's descriptive touch is light, avoiding the lushness of Spenser or the density of Donne.

Structural Evolution Across Editions

Arber's collation reveals how Habington expanded the work between 1634 and 1640. The first edition contained only the first part (love poems); the second added the second part (wedded happiness and elegies); the third introduced the third part (sacred poems) and revised earlier texts. The prose 'Characters'—'A Mistress,' 'A Wife,' 'A Friend,' 'A Holy Man'—frame each section with abstract ideals that the poems then embody. For instance, the 'Character of a Wife' defines her as 'the onely Sov'raigne of those waters,' a phrase echoed in the poem to Castara. The addition of scriptural texts in the third part marks a turn from earthly to divine love. Habington's revisions, such as changing 'he's' to 'is' in line 27 of one poem, show a meticulous concern for metrical smoothness and clarity.

Readers approaching Castara should attend to the interplay between the prose Characters and the verse that follows them: the ideals stated abstractly are tested and dramatised in the poems. Habington's voice is consistent across the three parts, but his themes shift from courtship to marriage to piety, offering a coherent vision of love as a ladder to the divine. The collated edition allows one to trace the poet's craft across a decade, noting small but telling revisions in diction and structure.

What struck me in Castara wasn’t the love poems themselves, but how quietly the editor notes the poet’s shifting choices — a word softened here, a line reworked there. It felt like watching someone tend a garden they know intimately. That same patient attention to layered language lives in The Vision and Creed of Piers Ploughman, Volume 2 — Reading Notes, where every margin feels like a whispered conversation across centuries. I kept thinking about why we return to certain texts, and how they keep changing under our gaze without ever moving.

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