Chapter X: Appendix: A Sheaf of Translations

THE REVENGE.

[Ronsard.]

Fair rebel to thyself and Time,
Who laugh'st at all my tears,
When thou hast lost thy youthful prime,
And Age his trophy rears,

Weighing thy inconsiderate pride, 5
Thou shalt in vain accuse it:
'Why beauty am I now denied,
Or knew not then to use it?'

Then shall I wish, ungentle Fair,
Thou in like flames may'st burn! 10
Venus, if just, will hear my prayer,
And I shall laugh my turn.

CLAIM TO LOVE.

[Guarini.]

Alas! alas! thou turn'st in vain
Thy beauteous face away,
Which, like young sorcerers, rais'd a pain
Above its power to lay.

Love moves not as thou turn'st thy[60:1] look, 5
But here doth firmly rest:
He long ago thine[60:2] eyes forsook
To revel in my breast.

Thy power on him why hop'st thou more
Than his on me should be? 10
The claim thou lay'st to him is poor
To that he owns from me.

His substance in my heart excels,
His shadow, in thy sight:
Fire where it burns more truly dwells 15
Than where it scatters light.

THE SICK LOVER.

[Guarini.]

My sickly breath
Wastes in a double flame,
Whilst Love and Death
To my poor life lay claim;
The fever in whose heat I melt 5
By her that causeth it[61:1] not felt.

Thou who alone
Canst, yet wilt grant no ease,
Why slight'st thou one,
To feed a new disease? 10
Unequal Fair! the heart is thine:
Ah, why then should the pain be mine?

TIME RECOVER'D.

[Casone.]

Come, my Dear, whilst youth conspires
With the warmth of our desires!
Envious Time about thee watches,
And some grace each minute snatches:
Now a spirit, now a ray 5
From thy eye he steals away;
Now he blasts some blooming rose
Which upon thy fresh cheek grows;
Gold now plunders in a hair;
Now the rubies doth impair 10
Of thy lips; and with sure haste
All thy wealth will take at last;
Only that of which thou mak'st
Use in time, from Time thou tak'st.

SONG.

[De Voiture.]

I languish in a silent flame:
For she to whom my vows incline
Doth own perfections so divine,
That but to speak were to disclose her name.
If I should say that she the store 5
Of Nature's graces doth comprise,
(The love and wonder of all eyes,)
Who will not guess the Beauty I adore?

Or though I warily conceal
The charms her looks and soul possess, 10
Should I her cruelty express,
And say she smiles at all the pains we feel,
Among such suppliants as implore
Pity, distributing her hate,
Inexorable as their fate,-- 15
Who will not guess the Beauty I adore?

APOLLO AND DAPHNE.

[Marino.]

When Phoebus saw a rugged bark beguile
His love, and his embraces intercept,
The leaves, instructed by his grief to smile,
Taking fresh growth and verdure as he wept,
'How can,' saith he, 'my woes expect release, 5
When these,[62:1] the subject of my tears, increase?'

His chang'd yet scorn-retaining Fair he kiss'd,
From the lov'd trunk plucking a little bough,
And though the conquest which he sought he miss'd,
With that triumphant spoil adorns his brow. 10
Thus this disdainful maid his aim deceives:
Where he expected fruit he gathers leaves.

SONG: TORMENT OF ABSENCE AND DELAY.

[Montalvan.]

Torment of absence and delay
That thus afflicts my memory!
Why dost thou kill me every day,
Yet will not give me leave to die?
Why dost thou suffer me to live 5
All hope of life in life denying,
Or to my patience tortures give
Never to die, yet ever dying?

To fair Narcissa's brighter eyes
I was by Love's instruction guided, 10
(A happiness I long did prize,)
But now am from their light divided.
Favours and gifts my suit obtain'd,
But envious Fate would now destroy them,
Which if to lose I only gain'd, 15
What greater pain than to enjoy them?

A LADY WEEPING.

[Montalvan.]

As when some brook flies from itself away,
The murmuring crystal loosely runs astray,
And, as about the verdant plain it winds,
The meadows with a silver ribbon binds,
Printing a kiss on every flower she meets, 5
Losing herself to fill them with new sweets,
To scatter frost upon the lily's head.
And scarlet on the gilliflower to spread,--
So melting sorrow, in the fair disguise
Of humid stars,[63:1] flow'd from bright Chloris' eyes, 10
Which, watering every flower her cheek discloses,
Melts into jasmines here, there into roses.

TO HIS MISTRESS IN ABSENCE.

[Tasso.]

Far from thy dearest self, the scope
Of all my aims,
I waste in secret flames;
And only live because I hope.

O when will Fate restore 5
The joys, in whose bright fire
My expectation shall expire,
That I may live because I hope no more!

THE HASTY KISS.

[Secundus.]

A kiss I begg'd, and thou didst[64:1] join
Thy[64:2] lips to mine;
Then, as afraid, snatch'd[64:3] back their treasure,
And mock'd[64:4] my pleasure.
Again, my Dearest![64:5]--for in this 5
Thou only gav'st[64:6] desire, and not a kiss.

SONG: WHEN THOU THY PLIANT ARMS.

[Secundus.]

When thou thy pliant arms dost wreathe
About my neck, and gently breathe
Into my breast that soft sweet air
With which thy soul doth mine repair;
When my faint life thou draw'st away, 5
(My life which scorching flames decay,)
O'ercharg'd, my panting bosom boils,
Whose fever thy kind art beguiles,
And with the breath that did inspire
Doth mildly fan my glowing fire. 10
Transported, then I cry: 'Above
All other deities is Love!
Or if a deity there be
Greater than Love, 'tis only thee.'

SONG: 'TIS NO KISS.

[Secundus.]

'Tis no kiss my Fair bestows!
Nectar 'tis, whence new life flows.
All the sweets which nimble bees
In their osier treasuries
With unequall'd art repose, 5
In one kiss, her lips disclose.
These, if I should many take,
Soon would me immortal make,
Rais'd to the divine abodes,
And the banquets of the gods. 10
Be not, then, too lavish, Fair!
But this heavenly treasure spare,
'Less thou'lt, too, immortal be:
For without thy company
What to me were the abodes 15
Or the banquets of the gods?

TRANSLATED FROM ANACREON.

I. _The Chase._

With a whip of lilies, Love
Swiftly me before him drove:
On we cours'd it through deep floods,
Hollow valleys, and rough woods,
Till a snake that lurking lay 5
Chanc'd to sting me by the way.

Now my soul was nigh to death,
Ebbing, flowing, with my breath,
When Love, fanning with his wings,
Back my fleeting spirit brings: 10
'Learn,' saith he, 'another day,
Love without constraint t'obey!'

II.

Vex no more thyself and me
With demure philosophy,
Hollow precepts, only fit
To amuse the busy wit.
Teach me brisk Lyaeus' rites; 5
Teach me Venus' blithe delights.
Jove[65:1] loves water: give me wine,
That my soul ere I resign
May this cure of sorrow have.
There's no drinking in the grave! 10

III. _The Spring._

See, the Spring herself discloses,
And the Graces gather roses;
See how the becalmed seas
Now their swelling waves appease;
How the duck swims; how the crane 5
Comes from 's winter home again;
See how Titan's cheerful ray
Chaseth the dark clouds away!

Now in their new robes of green
Are the ploughman's labours seen; 10
Now the lusty teeming earth
Springs, each hour, with a new birth;
Now the olive blooms; the vine
Now cloth with plump pendants shine,
And with leaves and blossoms now 15
Freshly bourgeons every bough.

IV. _The Combat._

Now will I a lover be!
Love himself commanded me.
Full at first of stubborn pride,
To submit, my soul denied. 20
He his quiver takes, and bow,
Bids defiance: forth I go.
Armed with spear and shield we meet:
On he charges: I retreat,

Till, perceiving in the fight 25
He had wasted every flight,
Into me, with fury hot,
Like a dart himself he shot.
And my cold heart melts; my shield
Useless, no defence could yield; 30
For what boots an outward screen,
When, alas, the fight's within?

V.

On this verdant lotus laid,
Underneath the myrtle's shade,
Let us drink our sorrows dead,
Whilst Love plays the Ganymed.

Life like to[66:1] a wheel runs round: 5
And, ere long, we underground
Ta'en by death asunder, must
Moulder in forgotten dust.

Why then graves should we bedew,
Why the ground with odours strew? 10
Better, whilst alive, prepare
Flowers and unguents for our hair.

Come, my Fair,[66:2] and come away!
All our cares behind us lay,
That these pleasures we may know, 15
Ere we come to those below.

E. CATALECTIS VET[ERUM] POET[ARUM].

A small well-gotten stock, and country seat
I have, yet my content makes both seem great.
My quiet soul to fears is not inur'd,
And from the sins of idleness secur'd.
Others may seek the camp, others the town, 5
And fool themselves with pleasure or renown;
Let me, unminded in the common crowd,
Live, master of the time that I'm allow'd!

SEVEN EPIGRAMS.[67:1]

[Plato.]

I. _Upon One named Aster._

The stars, my Star! thou view'st: heaven I would be,
That I with thousand eyes might gaze on thee.

II. _Upon Aster's Death._

A Phosphor 'mongst the living late wert thou,
But shin'st, among the dead, a Hesper now.

III. _On Dion, engraved on his Tomb at Syracuse._

Old Hecuba, the Trojan matron's, years
Were interwoven by the Fates with tears,
But thee, with blooming hopes, my Dion! deck'd,
Gods did a trophy of their power erect.
Thy honour'd relics in thy country rest, 5
Ah, Dion! whose love rages in my breast.

IV. _On Alexis._

'Fair is Alexis,' I no sooner said,
When every one his eyes that way convey'd.
My soul, as when some dog a bone we show
Who snatcheth it,--lost we not Phaedrus so?

V. _On Archaeanassa._

To Archaeanassa, on whose furrow'd brow
Love sits in triumph, I my service vow.
If her declining graces shine so bright,
What flames felt you who saw her noon of light?

VI. _Love Sleeping._

Within the covert of a shady grove
We saw the little red-cheek'd god of Love:
He had nor bow nor quiver: these among
The neighbouring trees upon a bow were hung.
Upon a bank of tender rosebuds laid, 5
He smiling slept; bees with their noise invade
His rest, and on his lips their honey made.

VII. _On a Seal._

Five oxen, grazing in a flowery mead,
A jasper seal, (done to the life,) doth hold;
The little herd away long since had fled,
Were't not enclos'd within a pale of gold.

TEXTUAL NOTES

1:1. _To the Countess of S. with 'The Holy Court'_ (p. 6).

This is most probably Dorothy Spencer, born Sidney, Countess of
Sunderland, Waller's 'Saccharissa,' then a widow: a woman entirely
worthy of Stanley's admiration, and within his circle of personal
friends. _The Holy Court_, a practical and devotional treatise by
Nicolas Caussin, S.J., was first translated into English by Sir
Thomas Hawkins, and published in London in 1626. There was a fine
five-volume edition printed in 1650. A copy of this may, very
likely, have been Stanley's gift. The poem, 1651, is preceded by
'Madam' in formal address.

2:1. _Drawn for Valentine, etc._ (p. 7).

The Editor guesses this young lady, the 'bright dawn,' who will
'challenge every heart,' later, to be the future Marchioness of
Halifax, the little Dorothy, daughter of the Earl of Sunderland (who
was killed at Newbury when she was three years old), and
'Saccharissa.' She was eleven in 1651. Waller, Sedley, and others,
have left happier poems addressed to children, in the same forced
tone, which was quite characteristic of the time.

'_Dear, fold me once more in thine arms_' (p. 10).

3:1. P. 10, line 15. A final couplet difficult to scan. If correctly
printed, it has a dissyllable rhyme, with the accentual stress on
'_wi_' thee.'

_Love's Innocence_ (p. 12).

4:1. P. 12. The 1647 title is 'The Innocence of Love.'

4:2. P. " line 1. 1647 reads:

'See how this ivy, Dear, doth twine.'

4:3. P. " line 7. 1647: 'To one another whispering there.'

4:4. P. " lines 9-12. 1647:

'Then blush not, Fair, that flame to show,
Which, like thyself, no crime can know.
Thus, led by those chaste guides, we may
Embrace and kiss as free as they.'

4:5. Pp. 12-13, lines 20-21. 1647:

'As are our flames, 'bove reach of words.
Thus, Doris, we of these may learn.'

5:1. _The Dedication_ (p. 13).

This, in the edition of 1647, is followed by twenty-seven lines of
citations from the Greek poets, giving the origins of the epithets
applied here to Love.

_The Glow-Worm_ (p. 13).

6:1. P. 13, line 2. 1647 has:

'This living star of earth.'

But Stanley's sensitive sequence, 'A star _thought_,' etc., seems to
forbid our recurring to the 'living star' as better than the
'animated gem.'

6:2. P. 14, line 4. 1647: 'deceiv'd.'

6:3. P. " line 12. 1647:

'Which doth deceive.'

7:1. _To Chariessa_ (p. 14).

The title, 1651, is simply: 'Desiring her to Burn his Verses.'

7:2. P. 14, line 4. 1647: 'as.'

7:3. P. 15, line 7. 1651: 'about.'

8:1. _On Mr. Fletcher's Works_ (p. 15).

Title, in Stanley, 1651, reads: 'On the Edition of Mr. Fletcher's
Works.'

8:2. P. 15, line 5. 1651: 'did.'

8:3. P. " line 11. 1651: 'could.'

8:4. P. 16, line 19. 1647: 'doth.'

8:5. P. " line 29. 1647 has 'ris''; 1651, 'rise.'

8:6. P. " line 30. 'With' reads 'not' in all texts: clearly a misprint.

9:1. _To the Lady D[ormer]._ _Sic_ 1651 (p. 16).

This poem, under the title, 'To my most honour'd Aunt, the Lady Dormer,'
is the dedication of 1647. Who this lady was is not clear to the
Editor, unless she was Alice, daughter to Sir Richard Molyneux,
Bart., of Sefton, Lancashire, widow of Sir William Dormer, and
mother of the splendid first Earl of Carnarvon, killed in the King's
cause at Newbury, 1643. It is rather noticeable that many of
Stanley's friends and kinsfolk, like the Dormers, were Catholics.

_To Mr. W. Hammond_ (p. 17).

10:1. P. 18, line 30. 1647 reads:

'Nor any flame but what is thine will own.'

11:1. _On Mr. Shirley's Poems_ (p. 18).

Title in Stanley, 1647: 'On Mr. I. S. his Poems.'

11:2. P. 18, line 7. 1647:

'Next like some skilful artist, who to wonder.'

11:3. P. " line 8. 1651 has 'a piece.'

11:4. P. 19, line 19. 1647: 'speech.'

11:5. P. " line 21. 'Voice' tentative. Original texts have 'veil.'

11:6. P. " line 30. 1651: 'poetry.'

11:7. P. 19, lines 31-32 omitted in 1647.

11:8. P. " line 33. Thus, 1647. 1651, erroneously:

'And hast so far even future aims surpass'd.'

12:1. _On Mr. Sherburne's Translation, etc._ (p. 20).

In Stanley, 1647, entitled: 'To Mr. E. S. on his Translation of Medea,
with the other Tragedies of Seneca the philosopher, and vindication
of the Author.' Sherburne was not knighted until 1682, four years
after Stanley's death.

12:2. P. 20, line 20. 1647: 'author.'

13:1. _On Mr. Hall's Essays_ (p. 21).

In Stanley, 1647: 'To Mr. I. H. on his Essays.'

13:2. P. 21, line 4. Here ends the prologue-like poem, in the edition of
1647. Then, as a separate piece on another page, under a new title,
'To Mr. I. H.,' follow these lines:

'I'll not commend thee; for thou hast outgrown
The reach of all men's praises but thine own.
Encomiums to their full objects are exact:
To praise, and not at full, is to detract.
And with most justice,' etc.

The rest as in the present edition. 'Full,' in the third line just
quoted, is certainly a misprint, crept up from the line below.

13:3. P. 21, line 13. 1647 has:

'The pride of others' autumns poor appears.'

John Hall of Durham was but nineteen years old in 1646.

14:1. _On Sir John Suckling, etc._ (p. 22).

_Fragmenta Aurea_, the posthumous collection of Suckling's poetry, came
out in 1646, with a fine portrait engraving by Marshall.

15:1. _Answer._

The verses by Stanley's tutor and friend are reproduced in the editions
both of 1647 and of 1651.

THE UNION.

[Greek: Mia psyche, duo somata]

By Mr. William Fairfax.

As in the crystal-centre of the sight
Two subtle beams make but one cone of light,
Or, when one flame twin'd with another is,
They both ascend in one bright pyramis;
Our spirits thus into each other flow, 5
One in our being, one in what we know,
In what we will, desire, dislike, approve,
In what we love; and one is that pure love.
As in a burning glass the aerial flame
With the producing ray is still the same, 10
We to love's purest quintessence refin'd,
Do both become one undivided mind.
This sacred fire into itself converts
Our yielding spirits and our melting hearts,
Till both our lines into one spirit run; 15
So several lines are in their centre one.
And when thy fair idea is impress'd
In the soft tablet of my easier breast,
The sweet reflexion brings such sympathy,
That I my better self behold in thee; 20
And all perfections that in thee combine,
By this resultance are entirely mine.
Thy rays disperse my shades, who only live
Bright in the lustre thou art pleas'd to give,

15:2. P. 22, line 8. _i.e._ 'I [who] know no native light but light
borrowed from thee.' The rather obscure phrase is obscured the more
by its slovenly original punctuation.

15:3. P. 22, line 10. 'Wouldst': 1651.

_The Blush_ (p. 24).

16:1. P. 24, line 11. 'Conferr'd' in 1647; 'comferd' in Gamble's
_Ayres_, 1657. The right word is obvious.

16:2. P. 24, line 16. 'Knows': 1647.

_The Cold Kiss_ (p. 25).

17:1. P. 25, line 3. 'These': 1657.

17:2. P. " line 12. 'My': 1657.

17:3. P. " line 15. 'Lip': 1657.

_The Idolater_ (p. 25).

18:1. P. 26, line 7. 'By' in other texts, but 'from' in Gamble, 1856.

18:2. P. " line 11. 'He' in 1647: the later text must be right.

18:3. P. " line 18. 'Breast': 1647.

_The Magnet_ (p. 26).

19:1. P. 26, line 9. 'She': 1657.

19:2. P. 27, line 13. 'Then': 1647.

_Song: 'Foolish Lover'_ (p. 28).

20:1. P. 28, line 24. 'Distinguish,' by printer's error, in 1657.

_The Parting_ (p. 29).

21:1. P. 29, line 4. 'Do': 1647.

21:2. P. " lines 5-6. 1647:

'But when hereafter thou shalt know
That grief hath slain me, come.'

21:3. P. " line 19. 'Condemn': 1647; 'contain': 1657. 'Contemn' is
Stanley's word, if one is to judge from the context.

_Counsel_ (p. 29).

22:1. P. 29, line 4. 'Creature': 1647.

22:2. P. 30, line 7. 'Their': 1657.

22:3. P. " line 10. This line is a tangle of misprints in 1657, viz.:

'Stars to jewels they divest thee.'

22:4. P. " line 13. 'Powers': a misprint of 1647.

22:5. P. " lines 23-24. The final couplet in 1647 is:

'Who would keep another's heart,
With her own must never part.'

_Expostulation with Love, in Despair_ (p. 30).

The text here given is a composite. The variants follow:

23:1. P. 30, lines 1-4. 1647:

'Love, with what strange tyrannic laws must they
Comply, which are subjected to thy sway!
How far all justice thy commands decline
Which though they hope forbid, yet love enjoin!'

The elision of the relative pronoun between lines 3 and 4 of the
present text, and again in the course of line 5, is an irritating
mannerism of the time, nowhere more frequent than in Stanley.

23:2. P. 31, line 9. 1657: 'hope.'

23:3. P. " line 10. 1647: 'hopes as cold'; 1657: 'thoughts that's cold.'

23:4. P. 31, line 14. 1647:

'When death and cold despair inhabit near?'

And 1657:

'When death and old despair inhabit here?'

23:5. P. 31, line 15. 1647:

'Rule in my breast alone, or else retire.'

23:6. P. " line 16. 1647: 'thy.'

23:7. P. " lines 17-18. The closing couplet of 1647 reads:

'Or let me not desire, or else possess!
Neither, or both, are equal happiness.'

And 1657:

'Thus let me ...
Either, or both ...'

_Song: 'Faith, 'tis not worth your pains'_ (p. 31).

24:1. P. 31, lines 2-3. 1657, blunderingly:

'To seek t'inspire
A heart so pure as mine.'

24:2. P. " line 12. 1647: 'you'll.'

_Expectation_ (p. 32).

25:1. P. 32, line 5. 1647: 'or.'

_The Breath_ (p. 33).

26:1. P. 33, line 8. _Sic_ in 1647 and 1657. 'He back receives': 1651.

26:2. P. " line 11. 1647 and 1657 have: 'Which, while he sportively.'

Gamble evidently had the 1647 copy of this song before him, as he
follows it throughout, slighting Stanley's corrections of 1651.

26:3. P. 33, line 16. 1647 and 1657: 'back.'

_The Night: a Dialogue_ (p. 34).

27:1. P. 34, line 1. 'Chariessa' is misprinted, in 1651, 'Charissa.' The
names are placed over the speeches. 1647 has for title: 'Amori
Notturni: A Dialogue between Philocharis and Chariessa.'

_Unalter'd by Sickness_ (p. 35).

28:1. P. 35, lines 1-4. The editions of 1647 and 1651 start off:

'Sickness, in vain thou dost invade
A beauty that can never fade.'

The additional opening lines figure only in 1657; there, however,
'her' in the second line is misprinted 'our,' and line 4 reads:

'Those beauties which can never fade.'

28:2. P. 35, line 6. 1647, 1651:

'One o' th' sweets which crown this Fair.'

But 1657:

'On those sweets which crown her fair.'

28:3. P. 35, line 9. 'Blushing' in the earlier versions.

28:4. P. " line 10. 'Drooping' in the earlier versions.

28:5. P. " line 16. 'But' in 1657, to the confusion of the sense.

29:1. _To Celia: Excuse for Wishing her less Fair_ (p. 36).

'To Celia' is omitted in 1651.

29:2. P. 36, lines 9-10. 1647:

'Men might languish, and not die
At thy then less scorching fire.'

29:3. P. " line 23. 'Than': 1657.

30:1. _Celia, Sleeping or Singing_ (p. 37).

'Celia Singing' is the title except in 1647, and the whole is there
printed as one stanza.

30:2. P. 37, line 10. By a wickedly diverting mishap, 'more' reads
'less' in 1651 and 1657!

30:3. P. 37, line 12. 'Flame,' by error, in 1651 and 1657.

30:4. P. " line 13. 'His': 1647.

30:5. P. " line 18. 'Cherubins' in all three texts.

30:6. P. " line 19. 'Power': 1647.

31:1. _Palinode_ (p. 37).

Not in the edition of 1651. The poem is printed in this section on
account of its relation to 'The Return,' which follows. 'The Return'
is possibly but another version of 'Palinode.'

31:2. P. 38, line 5. The Editor has ventured to print 'That would,'
though against all three texts, which give 'That wouldst.' The
meaning seems to be that the 'proud empire' of Beauty is rebellions
to Reason or Philosophy, the restraints of which, ('chains') 'would
within tyrannic laws confine,' etc.

31:3. P. 38, line 7. 'Powerful': 1657.

31:4. P. " line 12. 'In': 1657.

_The Return_ (p. 38).

32:1. P. 38, line 2. 'Unite,' by a misprint: 1651.

32:2. P. " line 3. 'Bounds': 1651, 1657.

32:3. P. " line 5. 'That': 1647.

32:4. P. " line 7. 'Sacred': 1647, 1651.

32:5. P. " line 10. 'Which': 1657.

32:6. P. 39, line 11. 'Midst': 1647, 1651.

32:7. P. " line 13. 'Th'' dropped out in 1651.

_Chang'd, yet Constant_ (p. 39).

33:1. P. 40, line 25. Eros.

33:2. P. 41, line 56. May the Editor be forgiven for altering, with no
explicit help from printed texts, one word of this splendid lyric,
in the very best impudent spirit of the time? The second 'hearts' in
the closing line reads 'they' in all editions of Stanley. It is
possible that this word 'they' has been caught from the line just
before, after a fashion only too familiar to copyists and printers.
Even so, it would mean not 'lovers' but 'hearts.' The word 'hearts,'
one is tempted to think, may be the right word.

34:1. _To Chariessa: Beholding herself, etc._ (p. 41).

The edition of 1651 omits 'To Chariessa.' The Editor regrets having
included it, by an oversight, in this section.

34:2. P. 41, line 8. 'One': 1657.

34:3. P. " line 12. The reading of 1657. 'In': 1647.

_Song: 'When I lie burning'_ (p. 42).

35:1. P. 42, lines 13-16. This stanza, probably by inadvertence, is not
included in the edition of 1651. 'Eye,' line 14, is 'eyes' in 1657;
and 'than,' line 16, is misprinted 'them' in 1647.

35:2. P. 42. line 17. 'No': 1651 and 1657.

_Delay_ (p. 43).

36:1. P. 44, line 18. 'Be': 1657.

_The Repulse_ (p. 44).

37:1. P. 44, line 3. The reading of 1657. 'Tyrannic': 1647, 1651.

37:2. P. 45, line 21. 'The': 1651, 1657.

_Song: 'Celinda, by what potent art?'_ (p. 45).

38:1. P. 45, line 9. 'Friend': 1647, 1651.

_The Tomb_ (p. 46).

39:1. P. 47. lines 19-20. In the version of 1647, these lines read:

'And (thou in this flame sacrific'd to me),
We might each other's mutual martyr be.'

The whole third stanza is reproduced from 1647; it figures neither
in 1651 nor in 1657.

39:2. P. 47, line 30. 'Love': 1647; a manifest befogging duplication of
the 'love' in the preceding line. 'Kill' seems to be called for, or
perhaps 'slay,' a word less in favour with Stanley.

40:1. _To Celia, pleading want of merit_ (p. 48).

1647: 'To One that pleaded her own Want of Merit.'

40:2. P. 48, line 12. 'My': 1647.

40:3. P. " line 19. The name in 1651, 1657; but 'Dearest' in 1647.

41:1. _The Kiss_. (p. 49).

1647: 'The Killing Kiss.'

41:2. P. 49, line 4. 'Forms' may be a misprint of 1651, 1657. This line
in 1647 reads:

'They both unite and join.'

41:3. P. 49, line 6. 'And': 1651; 'by' (which carries out the context)
in the others.

41:4. P. 49, line 12. 1647:

'Our lips, our tongues, each other's thoughts betray.'

41:5. P. 49, line 17. 1647: 'Doris.'

_The Snowball_ (p. 50).

42:1. P. 50, line 10. 'Whiter' in all; but 'winter' must be the word.

43:1. _The Deposition_ (p. 50).

1647: 'A Deposition from Beauty.'

43:2. P. 51, line 1. 'Were': 1651.

43:3. P. " line 3. 'Do': 1647; somewhat clearer than 'all,' in the texts
of 1651, 1657.

43:4. P. 51, line 9. 'Glories': 1651.

43:5. P. " line 16. 'Which': 1647.

_Love's Heretic_ (p. 52).

44:1. P. 53, line 34. 'That': 1647.

44:2. P. " line 38. 'Pleasures': 1651, 1657.

_La Belle Confidante_ (p. 54).

45:1. P. 55, line 16. 'Can nor decay nor die': 1651.

45:2. P. 55, line 17. 'And': 1647.

45:3. P. " lines 18, 20. 1647:

'Even in divorce delighted,
. . . . .
Still in the grave united.'

_The Divorce_ (p. 57).

46:1. P. 57, line 4. 1657: 'cannot.'

46:2. P. " line 12. 1647:

'That taught me such idolatry.'

The line as printed in this book follows 1657.

46:3. P. 57, line 14. 'Cold': 1647.

46:4. P. " lines 15-16. 1647:

'I by thy hate might be releas'd,
Who now am prisoner to thy love.'

46:5. P. 58. lines 21-22. 1647:

'Thus whilst so many suppliants do
Implore thy pity they may prove.'

_The Bracelet_ (p. 58).

47:1. P. 58, line 12. 1651 and 1657 have the line revised to its
detriment:

'A heart that many storms withstood, have sold.'

47:2. P. 58, line 15. 1647: 'souls that do our life inspire.' 'Human' in
1651, but 'humane,' in the commoner spelling of the time, in 1657.

47:3. P. 59, line 22. Thus in 1651, 1657. 1647 has:

'Guards and defends my heart.'

_The Farewell_ (p. 59).

48:1. P. 59, lines 13-14. The text as given is 1657 only. 1647 has:

'And may, in spite of Fate, thus blest,
Be, by this death, of heaven possess'd.'

And 1651:

'And be, in spite of Fate, thus blest,
By this sad death, of heaven possess'd.'

49:1. _The Exchange: Dialogue_ (p. 60).

'Exchange of Souls': 1647.

49:2. P. 60, lines 5-6. This refrain is omitted after the speeches in
1651, but figures in other editions, earlier and later.

_The Exequies_ (p. 61).

50:1. P. 61, lines 7-8. Text as given in 1651, 1657. 1647 has:

'Whose cold embraces do a victim hide
That, paid to Beauty, on Love's altar died.'

_The Silkworm_ (p. 62).

51:1. P. 62, line 1. 'This': 1651, 1657.

51:2. P. " line 6. All editions read:

'To make thy ornament her spoil.'

Facts, and the context, force one to reverse the possessive
pronouns.

51:3. P. 62, line 7. 1651: 'pain.'

51:4. P. " line 10. 1647:

'That her rich work and labours, thou
Wilt,' etc.

_Ambition_ (p. 62).

52:1. P. 63, line 10. Misspelt 'assent' in 1657.

52:2. P. " line 16. 'Honour,' in all texts, obviously wrong.

_Song: 'When, dearest Beauty'_ (p. 63).

53:1. P. 63, line 5. 'Left': 1651; 'least': 1657.

_Song: 'I will not trust'_ (p. 64).

54:1. P. 64, line 15. 'Captive': 1657; the older form in 1647, 1651.

_Song: 'I prithee'_ (p. 65).

55:1. P. 66, line 7. 'That,' 1647, 1651.

_The Loss_ (p. 66).

56:1. P. 67, line 20. This word reads 'thy' in all editions of Stanley.
The right reading is almost certainly 'their.'

57:1. _The Self-Cruel_ (p. 67).

Entitled 'Song': 1647.

57:2. P. 68, line 17. 'That' in all texts: but presumably a misprint.

58:1. _An Answer to a Song: 'Wert thou much [?] Fairer'_ (p. 68).

Stanley gives the title inaccurately.

Mr. W. M.'s Wither-like song (the author of which the Editor has not
identified), appears only in the edition of 1651:--

Wert thou yet fairer than thou art,
(Which lies not in the power of art,)
Or hadst thou in thine eyes more darts
Than ever Cupid shot at hearts;
Yet if they were not thrown at me, 5
I would not cast a thought on thee.

I'd rather marry a disease,
Than court the thing I cannot please:
She that will cherish my desires
Must meet my flames with equal fires. 10
What pleasure is there in a kiss,
To him that doubts the heart's not his?

I love thee not because thou'rt fair,
Softer than down, smoother than air;
Nor for the Cupids that do lie 15
In either corner of thine eye.
Wouldst thou then know what it might be?
'Tis I love you, 'cause you love me.

58:2. P. 68, line 8. 'So': 1647, 1651.

59:1. _The Relapse_ (p. 69).

Entitled simply 'Song' in 1647.

59:2. P. 69, line 5. 'Blind and impious': 1647.

59:3. P. 69, line 7. 'Fall': 1657; in the earlier versions 'name,'
caught up by the compositor, in error, from the succeeding line. But
the 1647 copy of Stanley in the Bodleian Library, which belonged to
William Fairfax, has 'name' erased, and 'fall' written, in a
seventeenth-century hand, above it.

TRANSLATIONS.

_Claim to Love._ Guarini. [1651, 1657] (p. 72).

60:1. P. 72, line 5. 'To': 1651.

60:2. P. " line 7. 'Thy': 1651.

_The Sick Lover._ Guarini. [1647, 1651, 1657] (p. 72).

61:1. P. 72, line 6. 'It' in all texts, possibly a misprint for 'is.'

_Apollo and Daphne._ Marino. [1651] (p. 74).

62:1. P. 74, line 6. 'Tears,' manifestly wrong, in the text; 'these' as
relating to 'leaves,' is inserted at a venture, and may or may not
be the right word.

_A Lady Weeping._ Montalvan. [1651, 1657] (p. 75).

63:1. P. 76, line 10. 'Stars' in both texts; but this may be in error
for 'tears.'

_The Hasty Kiss._ Secundus. [1647, 1651, 1657] (p. 76).

64:1. P. 76, line 1. 1647: 'she did.'

64:2. P. " line 2. 1647: 'her.'

64:3. P. 76, line 3. 1651: 'snatch.'

64:4. P. " line 4. 1651: 'mock.'

64:5. P. " line 5. 1647: 'my Chariessa!'

64:6. P. " line 6. 1651: 'gavest.'

_Translations from Anacreon._ [1651, 1657.]

65:1. No. II. P. 79, line 7. 'Love,' in both originals, is
self-contradictory.

66:1. No. V. P. 80, line 5. 'To' omitted in 1657.

66:2. No. V. P. 81, line 13. So 1657. 'My fair one' elsewhere.

67:1. _Seven Epigrams: Plato._ From Laertius and the Anthology. (p.
81.)

A LIST OF EDITIONS OF THOMAS STANLEY'S POEMS AND TRANSLATIONS

[NOTE.--The present 'List' may be looked upon as an _apology_ for a Stanley Bibliography, which, on the present occasion, is an impossibility to the compiler, who has, to some extent, had to satisfy himself with the sparse details of the ordinary bibliographical works; in addition, he has been aided by the Editor of the present edition of Stanley's Poems.--J. R. TUTIN.]

1. [Anonymous lines[A] to Sir John Suckling occurring beneath Marshall's
portrait of him in edd. 1646-1696 of Suckling's Works.

[Footnote A: Commencing: 'Suckling, whose numbers could invite.']]

2. Poems and Translation. By Thomas Stanley, Esquire. Quae mea culpa
tamen, nisi si lusisse vocari Culpa potest: nisi culpa potest &
amasse, vocari? Tout vient a poinct qui peut attendre. Printed for
the Author, and his friends, 1647. Collation--[13 pp.] 49 pp. [+8
pp.]

In a copy of this edition in the Bodleian Library, Oxford [Mason cc.
297], is the following Note:--

'Privately printed for presents only; afterwards reprinted in 1649
and 1650 for sale. The only other copy of this first edition I can
trace was in Isaac Reed's Sale.'

This 1647 edition has half-titles for Europa, Cupid Crucified, and
Venus Vigils; but for Oronta and for Aurora, etc., a title: Oronta,
The Cyprian Virgin, by Sig^r Girolamo Preti. London. Printed by F.
B. for Humphrey Moseley at the Signe of the Princes Armes in St.
Pauls Churchyard, 1637.

Aurora, Ismenia. By Don Juan Perez de Montalvan, 1648.

3. Europa, Cupid Crucified, Venus Vigils. With Annotations by Tho:
Stanley, Esq. Printed by W. W. for Humphrey Moseley, and are to be
sold at his shop at the Signe of the Princes Armes in St. Pauls
Churchyard. 1649 [2], 61 pp.

4. Aurora, Ismenia, and the Prince, by Don Juan Perez de Montalvan.
Oronta the Cyprian Virgin, by Sign^r Girolamo Preti. Tout vient a
poinet qui peut attendre. Translated by Thomas Stanley, Esq.; The
Second Edition, with additions. London. Printed by W. Wilson for
Humphrey Moseley at the Signe of Princes Armes in St. Pauls
Churchyard. 1650 [8 pp.], 87 p.

Considered by bibliographers part of succeeding (_i.e._ Poems of
1651), though the pagination begins anew and the date is 1650.

5. Poems, By Thomas Stanley, Esquire. Quae mea culpa tamen, nisi si
lusisse vocari Culpa potest: nisi culpa potest & amasse, vocari?
Printed in the Year 1651. 86 pp.

6. Anacreon, Bion, Moschus: Kisses by Secundus: Cupid Crucified by
Ausonius: Venus Vigils. Incerto authore. [Translated by Thomas
Stanley.] Printed in the year 1651. 164 pp.

7. Sylvias Park by Theophile, Acanthus Complaint by Tristran, Oronto by
Preti, Echo by Marino, Loves Embassy by Boscan, The Solitude by
Gongora. [Translated by Thomas Stanley.] Printed in the year 1651.
Pp. 167-212. (Paged continuously with Anacreon, Bion, etc.)

8. A Platonick Discourse upon Love. Written in Italian by John Picus
Mirandula, in Explication of Sonnet by Hieronimo Benvieni.
[Translated by Thomas Stanley.] Printed in the year 1651. Pp.
215-260. (Paged continuously with Sylvias Park, etc.)

9. Poems by Thomas Stanley, Esquire. Quae mea culpa tamen, nisi si
lusisse vocari Culpa potest: nisi culpa potest et amasse, vocari.
London: Printed for Humphrey Moseley, and are to be sold at his Shop
at the Signe of the Princes Armes in S. Pauls Church Yard, 1652.

10. Ayres and Dialogues (To be Sung to the Theorbo-Lute or Bass-Violl).
By John Gamble. Horat. Od. 2. 10.--Quondam cithara tacentem Suscitat
Musam, neque semper arcum Tendit Apollo. London. Printed by William
Godbid for the Author. 1656. [10 pp.] 83 pp. Fo.

Containing a full-page portrait of Gamble engraved by T. Cross. The
Prefaces precede the complimentary Poems.

11. Ayres and Dialogues (To be Sung to the Theorbo-Lute or Bass-Violl).
By John Gamble. Horat. Ode II., 10.--Quondam cithara tacentem
Suscitat Musam, neque semper arcum Tendit Apollo. London: Printed by
W. Godbid for Humphry Moseley at the Princes-Arms in St. Pauls
Church-yard, 1657. [10 pp.] 78 pp. [+ 1]. F^o.

Followed by twenty very complimentary lines by Alexander Broome
[Brome] addressed 'To His Friend Thomas Stanley, Esq., On his Odes
set and Published by Mr. John Gamble'; by twenty-two lines 'On my
Friend Mr. John Gamble his Excellent Composition of the Songs and
Dialogues of Thomas Stanley, Esq.,' signed Jo: Tatham; and a Preface
of Gamble's own, reproduced herewith. Then another Preface, To the
Noble Few Lovers of Musick (Gamble's); and poems, in order, by
Richard Lovelace, Jo: Redmayne, Dudley Lovelace, and Eldred Revet.

[Gamble's Preface, 1657.]

To the Worthy of all Honour, Thomas Stanley, Esq.

SIR,--You have been a merciful Creditor in the trust of these
inestimable Poems so long with me, a person inconsiderable. But, I
beseech you, think I have been sensible of the great obligation, and
alwayes thought it a lesse trespass to break with all the world,
then, by the least forgetfulness, make an unhappy forfeit of myself
to your displeasure. Sir, I have brought home your Principal; and
though it be a thing beneath your generous expectation to look at
profit, yet I thought it became my justice to tender you a small
interest, the endevours of my poor Art, to wait upon it: I
acknowledge it a bold Undertaking to compose your Words, (which are
so pure Harmonie in themselves,) into any other Musick. But it was
not in my ambition or hope to mend the least Accent or Emphasis
w^{ch} they received from your own numerous Soul, but to essay how
neer a whole life spent in the study of Musical Compositions could
imitate the flowing and naturall Graces which you have created by
your Fancie. I have onely to say, if my zeal have not stained what
you have excellently made, I will not despair of your pardon; and if
any thing herein, (the wel-meant tender of my service,) may obtain
your smile and permission, I shalbe confirmed in my thoughts that I
may stil write myself,--Sir, The most humble and faithful of your
Servants,
JOHN GAMBLE.

In this collection of Stanley's verse, 1656, 1657, the lyrics have
no titles of any sort, but are numbered.

12. Psalterium Carolinum: the Devotions of His Sacred Majestie in his
Solitudes and Sufferings rendred in Verse [from the Eikon Basilike
by T. Stanley]. Set to Musick for 3 Voices and an Organ or Theorbo
by John Wilson, Dr. and Music Professor of Oxford, London. Printed
for John Martin and James Allestrey, and are to be sold at the Bell
in St. Pauls Church-yard. 1657. Folio.

13. Psalterium Carolinum: the Devotions of His Sacred Majesty Charles
the First in his Solitudes and Sufferings. Rendred in Verse. London.
Printed for John Martin, James Allestry, and Thomas Dicas, and are
to be sold at the Bell in St. Pauls Church-yard, 1660.

The Dedication, to King Charles the Second, is signed Tho: Stanley.
The twenty-seven paraphrases here are without the music. F^o.

14. Poems, by Thomas Stanley, Esq. Quae mea culpa tamen, nisi si lucisse
[sic] vocari Culpa potest: nisi culpa potest et amasse, vocans
[sic]. Reprinted from the Edition of 1651. London: From the Private
Press of Longman, Hurst, Rees, Orme, and Brown. Printed by T.
Davison, Whitefriars. 1814. Pp. xxiv, 107. crown 8vo.

Edited, with Preface, etc., by Sir Egerton Brydges.

The edition contained about 100 copies.

15. Anacreon, Bion, and Moschus, with Other Translations. By Thomas
Stanley, Esq. First Printed 1651. A New Edition, with a Preface,
Critical and Biographical. London: From the Private Press of
Longman, Hurst, Rees, Orme, and Brown. Printed by T. Davison,
Whitefriars. 1815. Pp. xxvii. 276. crown 8vo.

Edited by Sir Egerton Brydges; about 100 copies only.

Pp. 133-276 comprise a large number of "excitations," by Stanley,
upon the authors dealt with in these translations.

16. The Elegies of Propertius, &c. London: H. G. Bohn. 1854. cr. 8vo
[Bohn's Classical Library].

Contains The Kisses of Secundus, translated into English verse by T.
Stanley.

17. The Poems of Catullus, &c. London: H. G. Bohn. 1854. cr. 8vo [Bohn's
Classical Library].

Contains The Vigil of Venus, translated into English Verse by T.
Stanley.

18. Anacreon: with Thomas Stanley's Translation. Edited by A. H. Bullen.
Illustrated by J. R. Weguelin. London: Lawrence & Bullen, 16
Henrietta Street, Covent Garden. MDCCCXCIII. 4to. Collation: Pp.
xxix. 224. Contains twelve photogravures. 1000 copies only were
printed for England and America.

[It may be here noted that many of Stanley's Verse-Translations
appeared in his _History of Philosophy_, of which there are many
editions, dating from 1655 to 1743, the best edition of which is
said to be the latter.]

19. Anacreon, Translated by Thomas Stanley. With a Preface and Notes by
A. H. Bullen, and Illustrations by J. R. Weguelin. London: A. H.
Bullen, 47, Great Russell Street, W.C. 1906. Pp. xxiv+92.

20. Thomas Stanley: His Original Lyrics, Complete, in their Collated
Readings of 1647, 1651, 1657. With an Introduction, Textual Notes, A
List of Editions, An Appendix of Translations, and a Portrait.
Edited by L. I. Guiney, J. R. Tutin, Hull, 1907.

_Collation._ Titles, Dedication, Contents, and Prefatory Note, pp.
i-xxi; Original Lyrics, pp. 1-69; Appendix of Translations, pp.
71-83; Textual Notes, pp. 85-100; List of Editions, pp. 101-105;
Index to First Lines, pp. 107-110.

The present edition.

INDEX TO FIRST LINES
PAGE

A kiss I begg'd, and thou didst join [Secundus] 76

A Phosphor 'mongst the living late wert thou [Plato] 81

A small well-gotten stock, and country seat [E. Cat[alectis]
Vet[erum] Poet[arum.]] 81

Alas! alas! thou turn'st in vain [Guarini] 72

As in the crystal-centre of the sight [Fairfax] 89

As when some brook flies from itself away [Montalvan] 75

Ask the empress of the night 26

Beauty, thy harsh imperious chains 37

Beauty, whose soft magnetic chains 38

Cast, Chariessa, cast that glass away 41

Cast off, for shame, ungentle maid 67

Celinda, by what potent art 45

Chide, chide no more away 32

Come, my Dear, whilst youth conspires [Casone] 73

Dear, back my wounded heart restore 57

Dear, fold me once more in thine arms 10

Dear, urge no more the killing cause 48

Delay! Alas, there cannot be 43

Doris, I that could repel 50

Draw near 61

'Fair is Alexis,' I no sooner said [Plato] 82

Fair rebel to thyself and Time [Ronsard] 71

Faith, 'tis not worth thy pains and care 31

Far from thy dearest self, the scope [Tasso] 76

Favonius, the milder breath o' th' Spring 33

Five oxen, grazing in a flowery mead [Plato] 83

Fletcher, whose fame no age can ever waste 15

Fool! take up thy shaft again 43

Foolish Lover, go and seek 28

He whose active thoughts disdain 52

I go, dear Saint, away 29

I languish in a silent flame [De Voiture] 73

I must no longer now admire 62

I prithee let my heart alone 65

I will not trust thy tempting graces 64

I yield, dear enemy, nor know 55

If we are one, dear Friend! why shouldst thou be 22

Love! what tyrannic laws must they obey 30

Madam! the blushes I betray 16

My sickly breath [Guarini] 72

No, I will sooner trust the wind 65

No, no, poor blasted Hope! 1

Not that by this disdain 44

Now will I a lover be [Anacreon] 79

O turn away those cruel eyes 69

Old Hecuba, the Trojan matron's, years [Plato] 82

On this swelling bank, once proud 9

On this verdant lotus laid [Anacreon] 80

Pale envious Sickness, hence! no more 35

Rebellious fools that scorn to bow 58

Roses, in breathing forth their scent 37

See how this ivy strives to twine 12

See how this violet, which before 27

See, the Spring herself discloses [Anacreon] 79

Since every place you bless, the name 6

Since Fate commands me hence, and I 59

So fair Aurora doth herself discover 24

Stay, fairest Chariessa, stay and mark 13

Such icy kisses, anchorites that live 25

Suckling, whose numbers could invite 22

That I might ever dream thus! that some power 1

That kiss which last thou gav'st me, stole 60

That wise philosopher who had design'd 20

The air which thy smooth voice doth break 50

The lazy hours move slow 10

The silkworm, to long sleep retir'd 62

The stars, my Star! thou view'st: heaven I would be [Plato] 81

These papers, Chariessa, let thy breath 14

Think not, pale lover, he who dies 25

Thou best of Friendship, Knowledge and of Art! 17

Thou that both feel'st and dost admire 2

Thou whose sole name all passions doth comprise 13

Though 'gainst me Love and Destiny conspire 7

Though when I lov'd thee thou wert fair 51

'Tis no kiss my Fair bestows [Secundus] 77

To Archaeanassa, on whose furrow'd brow [Plato] 82

Torment of absence and delay [Montalvan] 75

Vex no more thyself and me [Anacreon] 78

Wert thou by all affections sought 68

Wert thou yet fairer than thou art ['Mr. W. M.'] 98

What busy cares too timely born 4

What if Night 34

When, cruel fair one, I am slain 46

When, dearest Beauty, thou shalt pay 63

When, dearest Friend, thy verse doth re-inspire 18

When deceitful lovers lay 29

When I lie burning in thine eye 42

When on thy lip my soul I breathe 49

When Phoebus saw a rugged bark beguile [Marino] 74

When thou thy pliant arms dost wreathe [Secundus] 77

Whence took the diamond worth? the borrow'd rays 2

Why thy passion should it move 36

With a whip of lilies, Love [Anacreon] 78

Within the covert of a shady grove [Plato] 82

Wits that matur'd by time have courted praise 21

Wrong me no more 39

Yet ere I go 66

You earthly souls that court a wanton flame 54

You that unto your mistress' eyes 56

_Printed by_ MORRISON & GIBB LIMITED, _Edinburgh_

* * * * *

Transcriber's Notes:

1. Obvious punctuation errors in the preface and textual notes have
been fixed without further note, but punctuation within poems
remains as printed in the original book.

2. Line numbers in the poems are as printed in the original book,
even in cases where they may seem inconsistent.

3. Page xiii: In the quote by Hammond, "you too" has been corrected
to "you two".

4. Page 36: The reference to note 2 was missing and has been added.

5. Page 79: In IV. The Combat, the line numbering should probably
restart at 1, rather than continuing from III. The printed
numbering has been retained.

6. Page 81: The text note reference on line 13 of V was missing and
has been added.

7. Page 100: The reference in text note 66:1 to line 5 of No. IV has
been corrected to refer to No. V instead.

8. Page 100: The note numbers in the notes for 'Translations from
Anacreon' were inconsistent with the numbers actually used in the
poems, and have been corrected.

9. The book has a number of inconsistencies in spelling, word usage,
or style of citation in the List of Editions, all of which have
been retained. Some of them are noted here:
church yard, church-yard, and churchyard
Princes-Arms and Princes Armes
St. Pauls and S. Pauls
Fo. and F^o. (Folio)
re-inspire and reinspire
James Allestrey and James Allestry

10. The book uses some possibly obscure abbreviations, such as:
cr. 8vo, crown octavo
4to, quarto
Dnyi, Domini
edd., editions
Horat., Horatius (Horace)
Jo:, John
Od., Ode
Tho:, Thomas