Lunaticus inamoratus or, The mad lover.

Lunaticus inamoratus or, The mad lover.

Table of contents

LUNATICUS INAMORATUS OR, The Mad Lover.

From the Region of the Moon.

§

[Page]

LUNATICUS INAMORATUS OR, The Mad Lover.

HArk how the Welkin Thunders; Hark! stand, stand.

Dire Flames Belch forth, the Fury's are at hand.

Pluto by Stix! Foul Tysiphon avant:

Ho Proserpine! beaut'ous Proserpine, grant

Me a Boon; Command that Cerberus lye still:

Tell the low'd Curr, 'tis Amarantha's Will:

My Amarantha; She, who's now at Play

With Ariadne, in the Milky-way.

The Studded-Crown is stak't; O unkind part,

Against a Crown to wage thy Lovers-Hart:

Why Covets Amarantha such a Gemm?

Jove shall present thee with his Diadem.

But, that these curs'd-Manacles forbid;

I'd mount the Globe, and place it on thy Head.

Aurora speak; What! ha's my Angel Won ?

'Tis so, 'tis so; now give it, to th' Sun,

Th' dayes proud-Post; He'll drink thy Health at Night,

In Sweets extracted from his Thetis sight.

What Plagues are these Cold-Chains? Why, Ixion!

Sysiphus, Sysiphus! lay by that Stone;

Pledge Me, and Tantalus: This Glass to Her

Who Tinds the Stars, keeps Me a Prisoner.

Come, ye smoky Cyclops, come, Drink apace:

That, to your Mistriss; next, to Juno's Grace:

To Neptune now, quaf't off yee frolick Slaves;

For Neptune Tipples the Impostum'd Waves.

Sirrah Boy, Ganimede, fill up their Boules:

'Tis well; the Horned-God keeps thirsty-Souls.

More Nectar still, A Tun to him that sits

Collecting Notions from a Bedlams Witts,

Arme, arme Alcides! Sooty Feinds Invades

The Flowry-borders of the Elizian-Shades.

Charon, Scull, Ferriman, Steer towards Shoar;

Stem that proud Wave; Bear-up, now waft me o're.

Whence blowes that Gust? be calme, be calme; rude Wind

Obey; Love, and my thoughts are unconfin'd.

Bold slave forbear to touch it; know that Rose,

Only to deck my Amarantha Grows.

The Ruddy-Morne has strung of Dewy-Pearl;

A double Carkanet for thee, my Girl.

Look, where She comes; Hyperion stay,

And strow thy Golden-Attoms in Her way.

Venus, thy Charriot; quick, How dar'st thou see

Her walk on foot, that is more fair than Thee?

Attendance there; the Graces I'le prefer;

'Twould Grace the Sacred-Nine to wait on Her,

Jove, Tune the Whirling-Sphears; Arion come,

And Sing my Sweet a Lovers Requium.

Ha Squalled Villain! Scourge me; hold,

I'm still, I'm still; Dear Heart, I was too bold:

Forbear, I'm quiet now: the God's can tell,

My Amarantha does not take this well.

These Ginn's oppress. 'Tis Gold, pure Gold; the Stone,

Dropt from the Ringlet of an Amazone.

Hyppolita, perhaps, a Pilgrim might

Do Adorations to't, it looks so bright.

VVho Hollows there, Rogue, Captive, Lunatique;

If Molops hear, he'll lash thee to the quick.

SINGS

Her Hair upon Her Shoulders spread;

Each curle, a Fringe for Beauties Bed:

Jun's-Roses in Her Checks are born:

From either Eye,

A Serene Skie,

Ope's like the Windows of the Morn.

Where is my Angel? Ah! to sleep shrunk in;

To'th fragrant Bud of some choice Jessamin:

Or rests in Flora's Lap.

Hark, silence there, does not yon, doleful Bell,

Sound hollow as it were a mourning knell;

What sad departing Soul with lingring breath,

Disturbs the drowsie Bed-maker of Death.

For Amarantha, ha, and would she go,

Not once farwel; unkind, not let me know.

Dead, Amarantha dead, draw o're the Light,

The fullen Curtains of the gloomy Night:

Aurora's blushes, darkest Clouds Eclipse,

Grow pale, as now my Amarantha's lips.

My Glory dead? Her Tenement resigne,

Why would she not, an Inmate, dwell in mine.

See where she hovers, like a Cherubim,

Hast, hast, bright Soul, to thy Caelestial Inn.

Stay not to Banquet, these insatiate Eyes,

That must do service at thine Obsequies:

Ye purer Spirits of the Aire attend,

My wandring Angel to her journeys end:

With Sable cloath, the spangled Canopie,

That every Star may mourn as well as I:

And as ye pass, her Legacies proclaim,

To me her heart, to th' World her Vertuous, name.

Come swift wing'd Mercury, 'tis thou must be

The Messenger, betwixt my Love and me.

Where have you hid her Reliques? Let me clime,

And fix them 'bove the reach of wrinckled Time.

Go, tell her Hermes, how my thoughts are bent,

On Parian Clifts, to raise her Monument.

Plutus, base Miser, it is thou detaines

My Jewels Cabinet; thy hollow Veins,

I'le rend in sunder; search the Infenced Deeps,

Break-up the Cells, where all thy Treasures sleeps.

Discover what thy Avaritious mind,

Since the Proleptick Age, hath close confin'd;

Black-warders, of your fordid Masters o're

By Dis, and Hell, I conjure you to restore

His Theft; How dare you keep what must be set,

With Columnes double Archt on Arraret?

Ho, Light-heel'd Boy, What hast thou brought me there?

A Letter, ha, a Letter from my Dear

Seal'd with a Kiss.

Who would not over Rapid Torrents wade,

To kiss the Lips, that this Impression made.

A curled Lock and Diamond too, by Stix,

The wanton Archers strange Hyrogliphicks.

My Amarantha deems me still as wife,

As when I guest her meaning by her Eyes;

To read these Characters, writ by her looks,

The gravest Cato, would have left his Books.

From the Region of the Moon.

Inhabits Amarantha there? A place,

Beseeming such a Beauty, such a Grace.

Tarquin with-draw thy lustful Fancy from her,

She's now Diana's chiefest Maid of Honor.

The sportful Goddess often takes delight,

To let her wear the Cressent of the Night;

And with her smiling Nymphs attending, stray

O're Latmos, Ephesus, and Cayria.

Ovid, thy Courtship She'l no more approve,

She must be courted with, Platonique Love,

Such as the holy Virgin Nun may pant,

When ended prayers to her Indulgent Saint.

Chast Votress, I will offer at thy Shrine,

Flames, for their purity, shall equal thine.

Permit me though, when under Morpheus charms,

To dream I kiss, and keep Thee in mine Arms.

Soft Rest approach, polluted thoughts be gone,

Thou shalt be Cynthia, I, Endyminon.

With ALLOWANCE.

§

§

LONDON, Printed by Sarah Griffin. 1667.

Information about this book

Title statement

Lunaticus inamoratus or, The mad lover.

Edition statement

1667

Publication

Publisher

Text Creation Partnership,

Place of publication

Ann Arbor, MI ; Oxford (UK) :

Date

2009-03 (EEBO-TCP Phase 1).

ID [DLPS]

B04267

ID [STC]

Wing L3486

ID [STC]

Interim Tract Supplement Guide C.20.f.2[72]

ID [EEBO-CITATION]

99886892

ID [PROQUEST]

ocm99886892

ID [VID]

181402

Availability

This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal. The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission.

Series

Early English books online.

Notes

(EEBO-TCP ; phase 1, no. B04267)

Transcribed from: (Early English Books Online ; image set 181402)

Images scanned from microfilm: (Early English books; Tract supplement ; A1:1[73])

Source

— Lunaticus inamoratus or, The mad lover.,

Extent

1 sheet ([1] p.).

Printed by Sarah Griffin.,. London, :: 1667.. (Verse: "Hark how the welkin thunders; Hark! stand, stand.".) ("With allowance.") (Reproduction of original in the British Library.)

Creation

Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford.

Editorial practices

EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO.

EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org).

The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source.

Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data.

Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so.

Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor.

The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines.

Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements).

Keying and markup guidelines are available at the Text Creation Partnership web site.