Ode to Himself (‘Come, leave the loathed stage’) (1629)

The just indignation the author took at the vulgar censure
of his play by some malicious spectators begat this following
 Ode to Himself.

 Come, leave the loathèd stage,

And the more loathsome age,

Where pride and impudence,  in faction knit,

Usurp the  chair of wit,

 Indicting and  arraigning every day 5

Something they call a play!

Let their  fastidious, vain

Commission of the brain

Run on and rage,  sweat, censure, and condemn;

They were not  made for thee, less thou for them. 10


 Say that thou pour’st them wheat,

And they  will  acorns eat;

’Twere simple fury  still thyself to waste

On  such as have no taste,

To offer them a surfeit of pure bread 15

Whose appetites are dead.

No, give them   grains their fill:

 Husks,  draff to drink, and swill.

If they love  lees and  leave the lusty wine,

Envy them not; their palate’s with the swine. 20


No doubt  some mouldy tale,

Like  Pericles,  and stale

As the  shrieve’s  crusts, and  nasty as his  fish-

 Scraps,  out of every dish

 Thrown forth and raked into the  common tub, 25

 May keep up the  play-club;

  There  sweepings do as well

 As the best ordered meal.

For  who the relish of these guests will fit

Needs set them but the  alms-basket of wit. 30


And much good do’t you, then!

  Brave  plush-and-velvet  men

Can feed on  orts; and, safe in  your   stage-clothes,

Dare  quit, upon your oaths,

The   stagers and the  stage-wrights too (your peers) 35

Of   larding your large ears

With  their foul  comic socks,

Wrought upon twenty  blocks,

Which, if  they are torn and turned and  patched enough,

The gamesters share your  guilt, and you their stuff. 40


Leave things so prostitute,

And take the  Alcaic lute

Or thine own  Horace, or  Anacreon’s lyre;

Warm thee by  Pindar’s fire;

And though thy   nerves  be shrunk and blood be cold 45

Ere years have made thee old,

Strike  that disdainful heat

Throughout, to their defeat,

 As  curious fools, and envious of thy   strain,

May, blushing, swear no  palsy’s in thy brain. 50


 But when they hear thee sing

The glories of  thy king,

His zeal to God, and his just awe  o’er men,

They may,  blood-shaken, then

 Feel  such a flesh-quake to possess their powers 55

 As they shall cry  ‘Like ours

 In sound of peace or wars,

 No harp e’er  hit the stars,

 In tuning forth the acts of his sweet reign,

 And raising Charles his chariot ’bove his  wain.’ 60

Ode to Himself First printed at the end of New Inn (1629) with the heading above. Benson then printed an early version which had circulated widely in manuscript (see T. Davis, 1972, and collation). There are three main groups of texts. The poem frequently circulates in manuscript with Thomas Randolph’s answer and sometimes with his Latin translation (for which, see Randolph, Poems (1929), 82–4, and 149–51), as in Rowlands, A Crew of Kind London Gossips, 100–7, JnB 371, the closely related JnB 374, and JnB 378, in which Jonson’s poem, Randolph’s answer, and a Latin translation are all carefully arranged on each opening. The variants in this version are more likely to derive from Randolph or his circle than from Jonson. Felltham, Resolves (1661), 17–18 also composed an ‘Answer’ to the poem, as did ‘I. C.’ (probably James Clayton), Thomas Carew, and R. Goodwin. It inspired Rochester’s ‘Leave this gawdy, gilded stage’. There were further Latin translations by John Earles and William Strode (H&S, 10.333–8). The final stanzas of Randolph’s response are incorporated into the poem by the scribe of JnB 379. Steggle (1998a) argues that the whole poem is informed by Horace, Epistles, 2.1. It is the culmination of Jonson’s idiosyncratic association of the Ode form with criticism of the mores of his contemporaries, as in ‘Ode (‘If men’),’ (2.187), and ‘Scorn, or some humbler fate’ (Dubia, Electronic Edition).
1 Come] o; Ben Rowlands, JnB 370, JnB 371, JnB 374
3 in faction] o; together JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380.5, JnB 381
4 chair judgement seat, throne (OED, 3a). Cf. Intermean 4, 36, Staple, and ‘Rutter’ (6.698), lines 19–30.
5 Indicting] o; Condemning Rowlands, JnB 370, JnB 371, JnB 374
5 arraigning Cf. the preface (To the Great Variety of Readers) to Shakespeare’s first folio (1623), possibly written with Jonson’s endorsement, which refers to spectators who ‘sit on the stage at Blackfriars or the Cockpit to arraign plays daily’. See Dubia (Electronic Edition).
7 fastidious (1) tiresome; (2) finicky.
9 sweat] o; fret Rowlands, JnB 370, JnB 371, JnB 374
10 made] o; borne JnB 379, JnB 381
11 Say that thou] o; Say that BensonQ, Benson12mo.; Suppose you Rowlands, JnB 370, JnB 371, JnB 374; Say that yu JnB 376
12 will] o; would BensonQ, Benson12mo., Rowlands, JnB 368, JnB 369, JnB 370, JnB 371, JnB 372, JnB 374, JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 380.5
12 acorns food for swine. Cf. Ralph Brideoak’s elegy on Jonson, 47–50: ‘Though the fine plush and velvets of the age / Did oft for sixpence damn thee from the stage, / And with their mast and acorn stomachs ran / To the nasty sweepings of thy servingman . . .’ (Electronic Edition, Literary Record).
13 still] o; thus Rowlands, JnB 370, JnB 371, JnB 374
14 such as] o; them that JnB 379, JnB 381
17 grains] o; husks Rowlands, JnB 370, JnB 371, JnB 374
17 grains refuse malt left over from brewing, used in pig-swill (OED, n.1 4b).
18 Husks] o; Grains Rowlands, JnB 370, JnB 371, JnB 374
18 draff dregs, hogs’ wash.
19 lees sediment, dregs.
19 leave] o; leaues JnB 368; loath Rowlands, JnB 370, JnB 371, JnB 374, JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 380.5
21 some] o; a BensonQ, Benson12mo., Rowlands, JnB 368, JnB 370, JnB 371, JnB 372, JnB 374, JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 381
22 Pericles Shakespeare’s play was printed in 1609 and was reprinted four times by 1631. It is ‘mouldy’ because old-fashioned, but also because Gower’s prologues are consciously archaic.
22 and] o; or JnB 379, JnB 381
23 shrieve’s crusts left-overs from the Sheriff’s feast.
23 crusts] o; crust JnB 369, JnB 374
23 nasty] o; Mustye JnB 368, JnB 379.5
23 fish-] o; fish, BensonQ, Benson12mo., Rowlands, JnB 368, JnB 371, JnB 372, JnB 377, JnB 379.5
24 Scraps] o; scrapd JnB 379, JnB 381
24 out of] BensonQ, Benson12mo., JnB 368, JnB 369, JnB 376, JnB 377, JnB 378, JnB 379; out o; raft from JnB 374; rak’t from Rowlands, JnB 370, JnB 371, JnB 373
25 Thrown . . . into the] o; And thrown together in the Rowlands, JnB 370 (with ‘a’ for ‘the’), JnB 374; Thrown forth and cast into the JnB 376
25 tub Scraps were regularly collected for the poor at great houses. The household orders of Penshurst provide that ‘the Usher shall be careful that all the broken meat be putt into the poor’s tub’ (HMC 77 (Lisle), 6.1).
26 May] o; Will Rowlands, JnB 371, JnB 373, JnB 374
26 play-club For Jonson’s selective hostility to clubs, see ‘Drayton’ (6.161–4), line.
27 There] o; Broomes BensonQ, Benson12mo., Rowlands, JnB 368, JnB 370, JnB 371, JnB 372, JnB 374, JnB 380; Broome & his JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 381
27 There sweepings ‘Broom’s sweepings’ in the early version marks a jibe at Jonson’s servant Richard Brome, whose The Love-sick Maid had also been performed at the Blackfriars shortly after it was licensed on 9 Feb. 1629. Brome’s play had been a great success at the very theatre in which Jonson’s play had failed. ‘Sweepings’ puns on Brome’s name, and suggests that he was recycling scraps from Jonson’s study floor. Jonson later toned down the attack. See ‘Brome’, headnote (6.389).
27 sweepings] o; sweepinge JnB 368, JnB 370, JnB 373
28 As . . . ordered] o; There, as his Masters BensonQ, Benson12mo., Rowlands, JnB 368, JnB 370, JnB 371, JnB 372, JnB 374, JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 381
29 who . . . will] o; who ye rilsh of those gustes would JnB 369; he That meanes their pallates for to Rowlands, JnB 370, JnB 371, JnB 374; For who the rellish of these guest would JnB 377, JnB 379 subst.; who the Relish of those Ghests cann JnB 378, JnB 379.5; who the relish of thos guests can JnB 376, JnB 380 subst.
30 alms-basket of wit Cf. LLL, 5.1.39–40: ‘the alms-basket of words’.
32 Brave] o; You JnB 370; Ye Rowlands, JnB 371 subst., JnB 374 subst.
32 Brave For the ironical inflection, see Epigr. 116.10.
32 plush-and-velvet i.e. so richly clad that they are no more than their clothes: cf. Und. 15.58.
32 men] Donaldson, OSA; men; o
33 orts discarded scraps.
33 your] o; their JnB 369, JnB 377; ye JnB 370
33 stage] o; braue JnB 368; Scoene BensonQ, Benson12mo., Rowlands subst., JnB 370, JnB 371, JnB 374, JnB 376, JnB 378, JnB 379 subst., JnB 379.5; new JnB 373, seene JnB 377
33 stage clothes Well-dressed gallants could pay extra for seats on the stage; cf. Und. 15.108–10.
34 quit absolve.
35 stagers actors.
35 stagers . . . peers] o; stagers, and the stage-wrights, to your peyres) JnB 368, JnB 369 subst., JnB 373 subst; Stage, and Stage-rights too; your guilty Peers Rowlands, JnB 370 subst., JnB 371 subst., JnB 374 subst.; Stagers, & Stage-writers to your Peeres JnB 372; stagers . . . theyr peers JnB 377
35 stage-wrights ‘probably a coinage referring to the new noble breed of Caroline amateur authors’ (Hattaway, New Inn). Cf. ‘playwright’ at Epigr. 49 headnote.
36 larding stuffing; possibly ‘fattening’ (OED, †2); i.e. the plush and velvet men ‘quit’ or fail to condemn playwrights for stuffing them with rubbish.
36 larding] o; stuffing BensonQ, Benson12mo., Rowlands, JnB 368, JnB 370, JnB 371, JnB 372, JnB 374, JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 381
37 their . . . socks] o; rage of Commicke socks BensonQ, Benson12mo.; raggs of Comick socks Rowlands, JnB 370 subst., JnB 371 subst., JnB 372 subst., JnB 374 subst., JnB 376 subst., JnB 377 subst., JnB 378 subst., JnB 379 subst., JnB 379.5 subst., JnB 380 subst., JnB 381 subst.
37 foul comic socks Their socci, the flat slippers worn by comic actors in the ancient world, are grubby because they have been worn before, and so are derivative.
38 blocks The primary image is that the socks are made, like hats, by being shaped on a ‘block’; blocks are also types of stupidity.
39 they . . . turned] o; they’re torne, & foule BensonQ, Benson12mo., JnB 377, JnB 378, JnB 379.5, JnB 380 subst.; thay are torne and foule JnB 368, JnB 372 subst., JnB 373 subst.; it be but foule Rowlands, JnB 370 subst., JnB 371 subst., JnB 374 subst.; they returne, and fowl JnB 376; they are but torne, & foule JnB 379, JnB 381
39 i.e. The ‘socks’ are patched together from old materials stolen from here and there.
40 guilt . . . stuff Puns on ‘gilt’; a gilder uses ‘stuff’ to prime wood before gilding (OED, 6d); but there is also a pun on ‘stuffing’ (cf. ‘larding’, line 36).
42 Alcaic Alcaeus of Lesbos was a lyric poet imitated by Horace.
43 Horace Here the poet of the Odes; the sense is ‘Horace’s’.
43 Anacreon’s Anacreon was a Greek lyric poet of the sixth century bc.
44 Pindar’s Famed for odes; see Und. 70.
45 nerves sinews. On Jonson’s stroke in 1628, see Und. 62 headnote.
45 nerves be shrunk] o; veins be shrunk Rowlands, JnB 370, JnB 371 veines be spent JnB 374
45 be] o; soe JnB 369; grown Rowlands, JnB 370, JnB 371, JnB 374; grow JnB 372
47 that] o; a Rowlands, JnB 370, JnB 371, JnB 374
49 As] o; That Rowlands, JnB 370, JnB 371, JnB 374
49 curious fussy.
49 strain] o; veine JnB 376, JnB 379.5; trayne JnB 377, JnB 378; straynes JnB 380
49 strain melody.
50 palsy’s paralysis. (Jonson’s strokes would probably have been termed ‘palsy’.)
51 But, when] o; And when Rowlands, JnB 370, JnB 371, JnB 374; And though JnB 379
52 thy] o; the Rowlands, JnB 369 subst., JnB 370, JnB 371, JnB 374, JnB 379
53 o’er] o; of BensonQ, Benson12mo., JnB 368, JnB 372, JnB 376, JnB 377, JnB 378, JnB 379; to JnB 379.5
54 blood-shaken] o; be blood-shaken BensonQ, Benson12mo.
55 Cf. Horace, Epistles, 2.1.251–6.
55 such a] o; euen a JnB 369; a chill JnB 376; a still JnB 379.5
56 As . . . cry] o; That no tun’d Harpe BensonQ, Benson12mo.; As noe tund harp JnB 368, JnB 372, JnB 373, JnB 377, JnB 378, JnB 380; That no tun’d Muse Rowlands, JnB 370, JnB 371, JnB 374; cause noe Lute tun’d JnB 376; Cause no tun’d harpe JnB 379, JnB 379.5, JnB 381
57 In sound] o; To sing Rowlands, JnB 370, JnB 371, JnB 374
57–60 ‘Like . . . wain’] this edn; like . . . Waine o
58 No . . . hit] o; Shall truely hit BensonQ, Benson12mo., Rowlands subst., JnB 368, JnB 370, JnB 371, JnB 372, JnB 374, JnB 377, JnB 378, JnB 379, JnB 380, JnB 381; Noe harpe are yet JnB 369; Can truly hit JnB 376, JnB 379.5
58 hit the stars Cf. Horace, Odes, 1.1.36: sublimi feriam sidera vertice, ‘I shall hit the stars with my exalted head.’ Cf. Sej., 5.8–9.
59 In . . . sweet] o; When they shall read the Acts of Charles his BensonQ, Benson12mo., Rowlands, JnB 368, JnB 370 (reading ‘act’ for ‘acts’), JnB 371 (reading ‘Charles’s’ for ‘Charles his’), JnB 372, JnB 374, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 381; & tuneing forth ye acts of his great JnB 369; When they shall see the acts of Charles his JnB 376
60 And . . . ’bove] o; And see his Chariot triumph ’boue BensonQ, Benson12mo., JnB 368, JnB 372; And see his Chariot triumph o’re Rowlands, JnB 370, JnB 371, JnB 374, JnB 376, JnB 377, JnB 378, JnB 379, JnB 379.5, JnB 380, JnB 381
60 wain chariot; a reference to the ‘wain of Charles the Great’ made up by the seven bright stars in Ursa Major. The name probably derives from the association of ‘Arcturus’ with ‘Arthur’ and hence with English monarchs: see R. H. Allen (1963), 426–9.