EDITORIAL INTRODUCTION TO THE ANTIDOTE AGAINST MELANCHOLY, 1661.

§ 1. Reprint of an Antidote.

Having found that sixty-five of our previous pages, in the second volume of the Drolleries Reprint, were filled with songs and poems that also appear in the Antidote against Melancholy, 1661; and that all the remaining songs and poems of the Antidote (several being only obtainable therein) exceed not the compass of three additional sheets, or forty-eight pages, the Editor determined to include this valuable book. Thus in our three volumes are given four entire works, to exemplify this particular class of literature, the Cavalier Drolleries of the Restoration.[7]

To that portion of our present Appendix which is devoted to Notes to the Antidote against Melancholy, 1661, we refer the reader for the admirable brief Introduction written by John Payne Collier, Esq.; to whose handsome Reprint of the work we owe our first acquaintance with its pages. His knowledge of our old literature extends over nearly a century; his opportunities for inspecting private and public libraries have been peculiarly great; and he has always been most generous in communicating his knowledge to other students, showing throughout a freedom from jealousy and exclusiveness reminding us of the genial Sir Walter Scott. He states:—“We have never seen a copy of an ‘Antidote against Melancholy’ that was not either imperfect, or in some places illegible from dirt and rough usage, excepting the one we have employed: our single exemplar is as fresh as on the day it was issued from the press. There is an excellent and highly finished engraving on the title-page, of gentlemen and boors carousing; but as the repetition of it for our purpose would cost more than double every other expense attending our reprint, we have necessarily omitted it. The same plate was afterwards used for one of Brathwayte’s pieces; and we have seen a much worn impression of it on a Drollery near the end of the seventeenth century. It does not at all add to our knowledge of the subject of our reprint. J. P. C.”

Nevertheless, the copper-plate illustration is so good, and connects so well with the Bacchanalian and sportive character of the “Antidote against Melancholy,” and other Drolleries, that the present Editor not unwillingly takes up the graver to reproduce this frontispiece for the adornment of the volume and the service of subscribers. Our own Reprint and our engraving are made from the perfect specimen contained in the Thomason Collection, and dated 1661 (with “Aprill 18” in MS.; see p. 161). We make a rule always to go to the fountain-head for our draughts, howsoever long and steep may be the ascent. Flowers and rare fossils reward us as we clamber up, and in good time other students learn to trust us, as being pains-taking and conscientiously exact. The first duty of one who aspires to be honoured as the Editor of early literature is to faithfully reproduce his text, unmutilated and undisguised. To amend it, and elucidate it, so far as lies in his power, can be done befittingly in his notes and comments, while he gives his readers a representation of the original, so nearly in fac-simile as is compatible with additional beauty of typography. Throughout our labours we have held this principle steadily in view; and, whatever nobler work we may hereafter attempt, the same determination must guide us. There may be debate as to our wisdom in reproducing some questionable facetiæ, but there shall be none regarding our fidelity to the original text.

§ 2. Ingredients of an “Antidote.”

A pleasant book it appeared to Cavaliers and all who were not quite strait-laced. It is almost unobjectionable, except for a few ugly words, and bears comparison honourably with “Merry Drollery” or “Wit and Drollery,” both of the same date, 1661. Unlike the former, it is almost uninfected with political rancour or impurity. It is a jovial book, that roysters and revellers loved to sing their Catches from; nay, if some laughing nymphs did not drop their eyes over its pages we are no conjurors. A vulgar phrase or two did not frighten them. Lucy Hutchinson herself, the Colonel’s Puritan wife, fires many a volley of coarse epithets without blushing; and, indeed, the Saintly Crew occasionally indulged in foul language as freely as the Malignants, though it was condoned as being theologic zeal and controversial phraseology.

In “The Ex-Ale-tation of Ale” we forgive the verbosity, for the sake of one verse on the noted Ballad-writer (see note in Appendix):—

We find the character of the songs to be eminently festive: almost every one could be chanted over a cup of burnt Sack, and there was not entire forgetfulness of eating: witness “The Cold Chyne,” on page 55 (our p. 148). The Love-making is seldom visible. Such glimpses as we gain of Puritans (Bishop Corbet’s Hot-headed Zealot, Cleveland’s “Rotundos rot,”) are only suggestive of playful ridicule. The Sectaries, being no longer dangerous, are here laughed at, not calumniated. The odd jumble of nations brought together in those disturbed times is seen in the crowd of lovers around the “blith Lass of Falkland town” (p. 133) who is constant in her love of a Scottish blue bonnet:—“If ever I have a man, blew-Cap for me!” But, sitting at ease once more, not hunted into bye-ways or exile, and with enough of ready cash to wipe off tavern scores, or pay for braver garments than were lately flapping in the wind, the Cavaliers recall the exploits of their patron-saint, “St. George for England,” the gay wedding of Lord Broghill, as described by Sir John Suckling in 1641, the still noisier marriage of Arthur o’ Bradley, or that imaginary banquet afforded to the Devil, by Ben Jonson’s Cook Lorrell, in the Peak of Derbyshire. Early contrasts, drawn by their own grandsires, between the Old Courtier of Queen Elizabeth and the New Courtier of King James, are welcomed to remembrance. They forgive “Old Noll,” while ridiculing his image as “The Brewer,” and they repeat the earlier Ulysses song of the “Blacksmith,” by Dr. James Smith, if only for its chorus, “Which no body can deny.” The grave solemnity wherewith Dr. Wilde’s “Combat of Cocks” was told; the light-hearted buffoonery of “Sir Eglamore’s Fight with the Dragon;” the spluttering grimaces of Ben Jonson’s “Welchman’s praise of Wales;” and the sustained humour as well as enthusiasm of Dr. Henry Edwards’s “On the Vertue of Sack” (“Fetch me Ben Jonson’s scull,” &c.), are all crowned by the musical outburst of “The Green Gown:”—

(see Appendix to Westminster Drollery, p. liv.) Our readers may thus additionally enjoy a full-flavoured bumper of the “Antidote against Melancholy.”

J. W. E.

August, 1875.