TRANSLATIONS.

52:1.P.63, line 10. Misspelt ‘assent’ in 1657.52:2.P.” line 16. ‘Honour,’ in all texts, obviously wrong.

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.

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 dartsThan ever Cupid shot at hearts;Yet if they were not thrown at me,5I 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 desiresMust meet my flames with equal fires.10What 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 lie15In 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.

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 dartsThan ever Cupid shot at hearts;Yet if they were not thrown at me,5I 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 desiresMust meet my flames with equal fires.10What 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 lie15In either corner of thine eye.Wouldst thou then know what it might be?’Tis I love you, ’cause you love me.

I’d rather marry a disease,Than court the thing I cannot please:She that will cherish my desiresMust meet my flames with equal fires.10What 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 lie15In 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.

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.

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

60:1.P.72, line 5. ‘To’: 1651.60:2.P.” line 7. ‘Thy’: 1651.

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.’

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.)

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.)

[Note.—The present ‘List’ may be looked upon as anapologyfor 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[*]to Sir John Suckling occurring beneath Marshall’s portrait of him inedd.1646-1696 of Suckling’s Works.[*]Commencing: ‘Suckling, whose numbers could invite.’]

1. [Anonymous lines[*]to Sir John Suckling occurring beneath Marshall’s portrait of him inedd.1646-1696 of Suckling’s Works.

[*]Commencing: ‘Suckling, whose numbers could invite.’]

2. Poems and Translation. By Thomas Stanley, Esquire.Quæ 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—[13pp.] 49pp.[+8pp.]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, bySigrGirolamo 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.

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, bySigrGirolamo 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 byTho: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], 61pp.

4. Aurora, Ismenia, and the Prince, by Don Juan Perez de Montalvan. Oronta the Cyprian Virgin, bySignrGirolamo 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 [8pp.], 87 p.Considered by bibliographers part of succeeding (i.e.Poems of 1651), though the pagination begins anew and the date is 1650.

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.Quæ mea culpa tamen, nisi si lusisse vocari Culpa potest: nisi culpa potest & amasse, vocari?Printed in the Year 1651. 86pp.

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

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 JohnPicus 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.Quæ 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. [10pp.] 83pp.Fo.Containing a full-page portrait of Gamble engraved by T. Cross. The Prefaces precede the complimentary Poems.

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.OdeII., 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. [10pp.] 78pp.[+1].Fo.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.,’ signedJo: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 Emphasiswchthey 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.

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.,’ signedJo: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 Emphasiswchthey 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.

[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 Emphasiswchthey 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.Fo.

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

14. Poems, by Thomas Stanley, Esq.Quæ 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. crown8vo.Edited, with Preface, etc., by Sir Egerton Brydges.The edition contained about 100 copies.

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. crown8vo.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.

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.

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.

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 hisHistory of Philosophy, of which there are many editions, dating from 1655 to 1743, the best edition of which is said to be the latter.]

[It may be here noted that many of Stanley’s Verse-Translations appeared in hisHistory 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.

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.

PAGEA kiss I begg’d, and thou didst join [Secundus]76A Phosphor ’mongst the living late wert thou [Plato]81A small well-gottenstock,and country seat [E. Cat[alectis] Vet[erum] Poet[arum.]]81Alas! alas! thou turn’st in vain [Guarini]72As in the crystal-centre of the sight [Fairfax]89As when some brook flies from itself away [Montalvan]75Ask the empress of the night26Beauty, thy harsh imperious chains37Beauty, whose soft magnetic chains38Cast, Chariessa, cast that glass away41Cast off, for shame, ungentle maid67Celinda, by what potent art45Chide, chide no more away32Come, my Dear, whilst youth conspires [Casone]73Dear, back my wounded heart restore57Dear, fold me once more in thine arms10Dear, urge no more the killing cause48Delay! Alas, there cannot be43Doris, I that could repel50Draw near61‘Fair is Alexis,’ I no sooner said [Plato]82Fair rebel to thyself and Time [Ronsard]71Faith, ’tis not worth thy pains and care31Far from thy dearest self, the scope [Tasso]76Favonius, the milder breath o’ th’ Spring33Five oxen, grazing in a flowery mead [Plato]83Fletcher, whose fame no age can ever waste15Fool! take up thy shaft again43Foolish Lover, go and seek28He whose active thoughts disdain52I go, dear Saint, away29I languish in a silent flame [De Voiture]73I must no longer now admire62I prithee let my heart alone65I will not trust thy tempting graces64I yield, dear enemy, nor know55If we are one, dear Friend! why shouldst thou be22Love! what tyrannic laws must they obey30Madam! the blushes I betray16My sickly breath [Guarini]72No, I will sooner trust the wind65No, no, poor blastedHope!1Not that by this disdain44Now will I a lover be [Anacreon]79O turn away those cruel eyes69Old Hecuba, the Trojan matron’s, years [Plato]82On this swelling bank, once proud9On this verdant lotus laid [Anacreon]80Pale envious Sickness, hence! no more35Rebellious fools that scorn to bow58Roses, in breathing forth their scent37See how this ivy strives to twine12See how this violet, which before27See, the Spring herself discloses [Anacreon]79Since every place you bless, the name6Since Fate commands me hence, and I59So fair Aurora doth herself discover24Stay, fairest Chariessa, stay and mark13Such icy kisses, anchorites that live25Suckling, whose numbers could invite22That I might ever dream thus! that some power1That kiss which last thou gav’st me, stole60That wise philosopher who had design’d20The air which thy smooth voice doth break50The lazy hours move slow10The silkworm, to long sleep retir’d62The stars, myStar!thou view’st: heaven I would be [Plato]81These papers, Chariessa, let thy breath14Think not, pale lover, he who dies25Thou best of Friendship, Knowledge and of Art!17Thou that both feel’st and dost admire2Thou whose sole name all passions doth comprise13Though ’gainst me Love and Destiny conspire7Though when I lov’d thee thou wert fair51’Tis no kiss my Fair bestows [Secundus]77To Archaeanassa, on whose furrow’d brow [Plato]82Torment of absence and delay [Montalvan]75Vex no more thyself and me [Anacreon]78Wert thou by all affections sought68Wert thou yet fairer than thou art [‘Mr. W. M.’]98What busy cares too timely born4What if Night34When, cruel fair one, I am slain46When, dearest Beauty, thou shalt pay63When, dearest Friend, thy verse doth re-inspire18When deceitful lovers lay29When I lie burning in thine eye42When on thy lip my soul I breathe49When Phœbus saw a rugged bark beguile [Marino]74When thou thy pliant arms dost wreathe [Secundus]77Whence took the diamond worth? the borrow’d rays2Why thy passion should it move36With a whip of lilies, Love [Anacreon]78Within the covert of a shady grove [Plato]82Wits that matur’d by time have courted praise21Wrong me no more39Yet ere I go66You earthly souls that court a wanton flame54You that unto your mistress’ eyes56

Printed byMorrison & Gibb Limited,Edinburgh

Transcriber’s NotesObvious punctuation errors outside of the poems have been fixed without further note, but punctuation within poems remains as printed.As an aid to the reader this text uses a different style for references to the author’s textual notes than the printed edition used.References to the notes are marked within the text as[number:number]and within the textual notes section as "number:number." For example,[2:1]represents the first note in the second poem that has notes;[3:2]represents the second note in the third poem that has notes.Line numbers in the poems are as printed in the original book, even in cases where they may seem inconsistent.Page 36: The reference tonote 2 (29:2)in ‘To Celia’ (at line 10) was missing and has been added.Page 79: In‘IV.The Combat,’the line numbering should have probably restarted at 1, rather than continuing fromIII.The printed numbering has been retained.Page 81: The reference tonote 2 (66:2)in ‘V.’ (at line 13) was missing has been added.Page 100: The reference innote 66:1to line 5 of No.IVhas been corrected to refer to No.Vinstead.Page 100: The note numbers in thenotes for ‘Translations from Anacreon’were inconsistent with the numbers actually used in the poems, and have been corrected.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 churchyardPrinces-Arms and Princes ArmesSt. Pauls and S. PaulsFo.andFo.re-inspire and reinspireJames Allestrey and James Allestry

As an aid to the reader this text uses a different style for references to the author’s textual notes than the printed edition used.

References to the notes are marked within the text as[number:number]and within the textual notes section as "number:number." For example,[2:1]represents the first note in the second poem that has notes;[3:2]represents the second note in the third poem that has notes.

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