The Project Gutenberg EBook of Thomas Stanley: His Original Lyrics, Complete, In Their Collated Readings , by Thomas Stanley This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Thomas Stanley: His Original Lyrics, Complete, In Their Collated Readings of 1647, 1651, 1657. With an Introduction, Textual Notes, A List of Editions, An Appendis of Translation, and a Portrait. Author: Thomas Stanley Editor: L.I. Guiney Release Date: June 27, 2010 [EBook #32986] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THOMAS STANLEY: HIS *** Produced by Charlene Taylor, Walt Farrell and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)
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PAGE | ||
Prefatory Note | xi | |
I. | Lyrics printed only in the Edition of 1647: | |
The Dream | 1 | |
Despair | 1 | |
The Picture | 2 | |
Opinion | 2 | |
II. | Lyrics printed only in the Edition of 1651: | |
The Cure | 4 | |
To the Countess of S[underland?] with The Holy Court | 6 | |
Drawn for Valentine by the L[ady] D[orothy] S[pencer?] | 7 | |
III. | Lyrics printed only in Edition of 1657 [John Gamble’s Ayres and Dialogues] having no Titles: | |
‘On this swelling bank’ | 9 | |
‘Dear, fold me once more’ | 10 | |
‘The lazy hours’ | 10 | |
IV. | Lyrics printed only in Editions of 1647 and 1651: | |
Love’s Innocence | 12 | |
The Dedication to Love | 13 | |
[viii] The Glow-Worm | 13 | |
To Chariessa, desiring her to Burn his Verses | 14 | |
On Mr. Fletcher’s Works | 15 | |
To the Lady D[ormer] | 16 | |
To Mr. W[illiam] Hammond | 17 | |
On Mr. Shirley’s Poems | 18 | |
On Mr. Sherburne’s Translation of Seneca’s Medea, and Vindication of the Author | 20 | |
On Mr. Hall’s Essays | 21 | |
On Sir J[ohn] S[uckling] his Picture and Poems | 22 | |
Answer [to ‘The Union’] | 22 | |
V. | Lyrics printed only in Editions of 1647 and 1657 [Gamble]: | |
The Blush | 24 | |
The Cold Kiss | 25 | |
The Idolater | 25 | |
The Magnet | 26 | |
On a Violet in her Breast | 27 | |
Song: ‘Foolish Lover, go and seek’ | 28 | |
The Parting | 29 | |
Counsel | 29 | |
Expostulation with Love, in Despair | 30 | |
Song: ‘Faith, ’tis not worth thy pains and care’ | 31 | |
Expectation | 32 | |
VI. | Lyrics printed in all Original Editions Of Stanley: | |
The Breath | 33 | |
The Night: a Dialogue | 34 | |
Unalter’d by Sickness | 35 | |
To Celia, Excuse for Wishing her less Fair | 36 | |
Celia, Sleeping or Singing | 37 | |
Palinode | 37 | |
[ix] The Return | 38 | |
Chang’d, yet Constant | 39 | |
To Chariessa, Beholding Herself in a Glass | 41 | |
Song: ‘When I lie burning in thine eye’ | 42 | |
Song: ‘Fool! take up thy shaft again’ | 43 | |
Delay | 43 | |
The Repulse | 44 | |
Song: ‘Celinda, by what potent art’ | 45 | |
The Tomb | 46 | |
To Celia, Pleading Want of Merit | 48 | |
The Kiss | 49 | |
The Snowball | 50 | |
Speaking and Kissing | 50 | |
The Deposition | 51 | |
Love’s Heretic | 52 | |
La Belle Confidante | 54 | |
La Belle Ennemie | 55 | |
Love Deposed | 56 | |
The Divorce | 57 | |
The Bracelet | 58 | |
The Farewell | 59 | |
The Exchange: Dialogue | 60 | |
The Exequies | 61 | |
The Silkworm | 62 | |
Ambition | 62 | |
Song: ‘When, dearest Beauty, thou shalt pay’ | 63 | |
Song: ‘I will not trust thy tempting graces’ | 64 | |
Song: ‘No, I will sooner trust the wind’ | 65 | |
Song: ‘I prithee let my heart alone!’ | 65 | |
The Loss | 66 | |
The Self-Cruel | 67 | |
An Answer to a Song, ‘Wert thou much [?] fairer than thou art,’ by Mr. W. M. | 68 | |
The Relapse | 69 |
PAGE | ||
A Sheaf of Translations: | ||
The Revenge [Ronsard] | 71 | |
Claim to Love [Guarini] | 72 | |
The Sick Lover [Guarini] | 72 | |
Time Recover’d [Casone] | 73 | |
Song: ‘I languish in a silent flame’ [De Voiture] | 73 | |
Apollo and Daphne [Marino] | 74 | |
Song: Torment of absence and delay [Montalvan] | 75 | |
A Lady Weeping [Montalvan] | 75 | |
To his Mistress in Absence [Tasso] | 76 | |
The Hasty Kiss [Secundus] | 76 | |
Song: ‘When thou thy pliant arms’ [Secundus] | 77 | |
Song: ‘’Tis no kiss’ [Secundus] | 77 | |
Translations from Anacreon: | ||
I. The Chase: ‘With a Whip of lilies, Love’ | 78 | |
II. ‘Vex no more thyself and me’ | 78 | |
III. The Spring: ‘See, the Spring herself discloses’ | 79 | |
IV. The Combat: ‘Now will I a lover be’ | 79 | |
V. ‘On this verdant lotus laid’ | 80 | |
E Catalectis Vet[erum] Poet[arum] | 81 | |
Seven Epigrams [Plato]: | ||
I. Upon one named Aster | 81 | |
II. Upon Aster’s Death | 81 | |
III. On Dion, engraved on his Tomb at Syracuse | 82 | |
IV. On Alexis | 82 | |
V. On Archaeanassa | 82 | |
VI. Love Sleeping | 82 | |
VII. On a Seal | 83 | |
Textual Notes | 85 | |
A List of Editions of Thomas Stanley’s Poems and Translations | 101 | |
Index to First Lines | 107 | |
Thomas Stanley’s quiet life began in 1625, the year of the accession of that King whom English poets have loved most. He came, though in the illegitimate line, from the great Stanleys, Earls of Derby. His father, descended from Edward, third Earl, was Sir Thomas Stanley of Leytonstone, Essex, and Cumberlow, Hertfordshire; and his mother was Mary, daughter to Sir William Hammond of St. Alban’s Court, Nonington, near Canterbury. Following the almost unbroken law of the heredity of genius, Stanley derived his chief mental qualities from his mother; and through her he was nearly related to the poets George Sandys, William Hammond, Sir John Marsham the chronologer, Richard Lovelace and his less famous brother; as, through his father, to a fellow-poet perhaps dearer to him than any of these, Sir Edward Sherburne.
His tutor, at home, not at College, was William Fairfax, son of the translator of Tasso. With translation in his own blood, that accomplished and affectionate gentleman succeeded in inspiring his forward charge[xii] with a taste for the same rather thankless game, and with a love of modern foreign classics which he never lost. It was thrown at Stanley, afterwards, that in courting the Muses, he had profited only too well by Fairfax’s aid: but the charge, if ever a serious one at all, was absurdly ill-founded. It may have been based on a wrong reading of that very generous acknowledgement beginning: ‘If we are one, dear friend,’ which is printed in this volume; for the muddled misconstruing mind has existed in every intellectual society. Nothing is plainer than that Stanley, both by right of natural genius and of fastidious scholarship, was more than capable of beating his music out alone.
The boy was sent to Pembroke College, Cambridge, before he was fifteen, and was entered as a gentleman commoner of that University, passing by no means unmarked among a brilliant generation; and there, in 1641 he graduated Master of Arts, being incorporated at Oxford in the same degree. He next set out, like all youths of his rank and age, upon that ‘grand tour’ which was still a perilous business. He returned to England in the full fury of the great Civil contest (his family having emigrated to France, meanwhile), and settled down to work, not forensic, but literary, in the Middle Temple. There he fell to editing Æschylus, turning Anacreon into English, and planning the beginnings of his History of Philosophy. Best of all, he wrote, at leisure and by liking, his charming verses. Contemporaries not a few practised this same notable detachment, building nests, as it were, in the cannon’s mouth. Choosing the contemplative life, Stanley,[xiii] like William Habington and Drummond of Hawthornden, was shut in with his mental activities, while many others whom they knew and whom we know, poor gay sparks of Parnassus, were dimming and blunting themselves on bloody fields. Like Habington and Drummond also in this, he was, though a passive Royalist, Royalist to the core. His Psalterium Carolinum (Eἰkων Βασιλιkή in metre), published three years before the Restoration, proves at least that if he were a non-combatant for the cause he believed in, he was no timid truckler to the power which crushed it. In London he seems to have lived throughout the war, suffering and surviving in the smallpox epidemic. He had married early, and, according to all evidence, most happily. His wife was Dorothy, daughter and co-heiress of Sir James Enyon, Baronet, of Flore, or Flower, Northamptonshire. (It is curious, one may note in passing, that Thomas Stanley in the Oxford University Register is entered as an incorporated Cantabrigian ‘of Flowre, Northants.’ This was in his seventeenth year, when it is highly improbable that any property there could have been made over to him, unless with reference to his betrothal to Dorothy Enyon, then a child.) One of Stanley’s devoted poetic circle joyfully salutes them on the birth of their second son, Sidney,
‘Ere both the parents forty summers told,’
as equal paragons. ‘You two,’ sings Hammond, ‘who are in worthiness so near allied.’ They enjoyed, together, a comfortable fortune, and gave even more[xiv] generously, in proportion, than they had received. All Stanley’s tastes and habits were humanistic. He was the loyal and helpful friend of many English men of letters. To name his familiar associates is to call up a bright and thoughtful pageant, for they include, besides Lovelace and Suckling and Sherburne, the Bromes; James Shirley; John Davies of Kidwelly; John Hall of Durham, better remembered now as the friend of Hobbes than as the prodigy his generation thought him; and the genial Edward Phillips, the nephew of Milton. Though Stanley knew how to protest manfully when the profits of his mental labours were in danger of being withdrawn from him, yet he sought none of the usual awards of life, and never increased his patrimony. Indeed, his relative William Wotton said of him long after, in a Latin notice written for Elogia Gallorum, that Stanley lived engrossed in his studies, and let his private interests run to seed. He kept his learning and his liberty, his charity and peace and good repute; and of his troubles and trials he has left, like the gallant philosopher he was, no record at all. A little brass in the chancel pavement of Clothall Church, near Baldock, witnesses to some of these: for there ‘Thomas et Dorothea, parentes moesti,’ laid two little sons to rest ... ‘sit nomen Dñi benedictum.’ They lost other children, later; but one son and three daughters survived their gentle father, when, after a severe illness, he was called away from a society which bitterly deplored him, in April, 1678. He died in Suffolk Street, London, in the parish of St. Martin-in-the-Fields.
[xv]Stanley was supposed by his contemporaries to have made himself immortal by his History of Philosophy, long a standard book, though hardly an original one. Indeed, they considered him, chiefly on account of it, ‘the glory and admiration of his time’: the phrase is that of a careful critic, Winstanley. The work went into many editions; his prose was used and read, while his verse was talked of, and passed lightly from hand to hand. As in the case of Petrarca, whose fine Latin tomes quickly perished, while his less regarded vernacular Rime rose to shine ‘on the stretched forefinger of all Time,’ so here was a little remainder of lovely English song to embalm an otherwise soon-buried name. Hardly any poet of his poetic day, to be discovered hereafter, can be appraised on a more intimate understanding, or can awaken a more endearing interest. Yet we know that save for one or two of his pieces extant here or there in anthologies; save for a private reprint in 1814 by that tireless scholar and ‘great mouser,’ Sir Egerton Brydges; save for Mr. A. H. Bullen’s valued reproduction of the Anacreontea, in 1893, Thomas Stanley’s name is utterly unknown to the modern world.
We have indeed travelled far from the ideals of the seventeenth century. Perhaps, after all, that is one of our blunders; for every hour, nowadays, we are busy breaking a backward path through the historic underbrush, in order to speak with those singing gentlemen of ‘the Warres,’ whose art and statecraft and religion some of us (who have seen the end of so much else), find incredibly attractive to our own. Their lawless[xvi] vision, like that of children, and the mysterious trick of music in all their speech, are things we love instinctively, and never can regain. Out of their political storm, their hard thought, and high spirits, they can somehow give us rest: and it is chiefly rest which we crave of them. We appeal to each of these post-Elizabethans with the invitatory line of one of them:
‘Charm me asleep with thy delicious numbers!’
The pleasure they can still give is inexhaustible, for unconscious genius like theirs, however narrow, is a deeper well than Goethe’s. Cast aside, and contemned, and left in the darkness long ago, the greater number of these English Alexandrians are as alive as the lamp in Tullia’s tomb; and of these Stanley, as a craftsman, is almost first.
He was a born man of letters; he gave his whole life to meditation, to friendship, and to art; he did his beautiful best, and cared nothing for results; and though literary dynasties have come and gone, his work has sufficient vitality to-day to leap abreast of work which has never been out of the sphere of man’s appreciation, and has deserved all the appreciation which it got. Stanley’s fastidious strength, his wayward but concentrated grace, his spirit of liberty and scorn in writing of love (which was one of the novel characteristic notes of Wither’s generation, and of Robert Jones’s before him); the sunny, fearless mental motion, like that of a bird flying not far, but high, seem to our plodding scientific wits as unnatural as a Sibyllic[xvii] intoxication. He strikes few notes; he recognises his limits and controls his range; but within these, he is for the most part as happy as Herrick, as mellow as Henry King, as free as Carew, and as capable as these were, and as those deeper natures, Crashaw and Vaughan, were not, of a short poem perfect throughout. He is the child of his age, moreover, in that his ingenuity never slumbers, and his speech must ever be concise and knotty. If he sports in the tangles of Neræa’s hair, it is because he likes tangles, and means to add to them. No Carolian poet was ever an idler!
Carew, perhaps, is Stanley’s nearest parallel. The latter shows the very same sort of golden pertness, masked in languid elegance, which goes to unify and heighten Carew’s memorable enchantment, and the same sheer singable felicity of phrase. But, unlike Carew, he has no glorious ungoverned swift-passing raptures; there is in Stanley less fire and less tenderness. Nor has he anything to repent of. His imagination, as John Hall discerningly said of it,
‘Makes soft Ionic turn grave Lydian.’
Except Habington’s, no considerable body of amatory verse in all that century, certainly not even Cowley’s more artificial sequence of 1647, is, on the whole, so free from stain. Stanley’s exemption did not pass unnoticed; and William Fairfax (‘no man fitter!’) is careful to instruct us that Doris, Celinda, and Chariessa were ‘various rays’ of ‘one orient sun,’ and further, that ‘no coy ambitious names may here imagine earthly flames,’ because the poet’s professional and deliberate[xviii] homage was really paid to inward beauty, and never to ‘roses of the cheek’ alone. Here we run up against a sweet and famous moral of Carew’s, which not Carew, but Stanley, bears out as the better symbolist of the two. Our poet does not appear to have contributed towards the religious literature of a day when the torrent of intense life in human hearts bred so much heaven-mounting spray, as well as so much necessary scum and refuse. But his was a temperament so religious that one almost expects to find somewhere a manuscript volume of ‘pious thoughts,’ the shy fruit of Stanley’s Christian ‘retirements’ at home. It will be noticed that there is one sad devotional poem in this book, ‘The lazy hours move slow’; and as it appears only in John Gamble’s book, 1657, it may fairly be inferred that it was written later than the other lyrics. In 1657 Stanley was two-and-thirty, and his singing-time, so far as we know, was over. He had discharged it well. He fails where any true artist may ever be expected to fail, in verses occasional and complimentary. But, to balance this, he is often exceptionally happy when translating.
His portrait, in middle age, by Faithorne after Lely, commends him to us all as quite worthy of the affection and applause which surrounded him from his youth, and never spoiled him. Brown-haired, hazel-eyed, fresh-cheeked, serene rather than gay, he seems the very incarnation of the ideal for which many others, less fortunate, hungered in that vexed England: the man ‘innocent and quiet,’ whose ‘mind to him a[xix] kingdom is,’ whose ‘treasure is in Minerva’s tower,’ and ‘who in the region of himself remains.’ Through the Civil struggle, the Commonwealth, the Restoration, he had followed a way of peace, without blame, and he is almost the only poet of the stormy time who is absolutely unaffected by it. He, at least, need not be discounted as a pathetic broken crystal: he can be judged on his own little plot of ground, without allowances, and by our strictest modern standards. His light bright best, his viridaria, have borne victoriously the lava-drift of nearly three centuries. An amorist of even temper and of malice prepense, a railer with a sound heart, an untyrannic master of his Muse, Stanley sings low to his small jocund lyre, and need not be too curiously questioned about his sincerity. How can it matter? He gives delight; he deserves the bays.
This little book is the first complete reprint of Stanley ever published: it is his original and inclusive output. The text is a new text, inasmuch as it represents the Editor’s choice of readings, among many variants; but variants are noted throughout, and by their number and interest tell their own tale of Stanley’s exacting and sure taste. A few translated lyrics are gathered into an Appendix. The title-pages of his few volumes will be found cited in the accompanying List of Editions.
But the only issues taken into account here, for textual purposes, are the three of 1647, 1651, and 1657, of which last a word needs to be said. (The edition of 1652 is an exact copy of 1651, therefore negligible in the[xx] preparation of this book.) The often-overlooked Ayres and Dialogues, Gamble’s and Stanley’s, appeared first privately, in 1656, then in 1657. The earlier issue is rare; it figures in the British Museum Music Catalogues, but not in those of the Bodleian Library. There is at Oxford, however, a copy of the later edition, and on this the present editor bases the readings common both to 1656 and 1657. As a general thing these readings of the Gamble Stanley are particularly satisfying, and besides having all the advantages in point of time, may have profited by the author’s careful revision. John Gamble’s music-book is devoted wholly to Stanley’s poems. It has a notably affectionate and, as it happens, a not-much-too-obsequious Preface, in which Gamble well says that he felt it ‘a bold Undertaking to compose words which are so pure Harmonie in themselves, into any other Musick’; yet that he longed to put it to the test, ‘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.’ Gamble wrote out no accompaniments to his sweet and spirited settings, nor did he leave Stanley’s titles prefixed to the numbered songs, a good proportion of which are translations, though not indicated as such.
As to the present arrangement, for simplicity’s sake, it is nothing if not frankly chronological. It is divided into six sections; the sixth contains those poems which must have appeared to Stanley to be his best, as they were included by him in every successive edition of his work. Form and method, therefore,[xxi] are both, after a fashion, novel, but not without their good inherent justification, nor without fullest obedience of spirit to the author’s individual genius and its posthumous dues. The spelling has been modernised, and particular pains have been taken with the punctuation. This reprint is a deferent attempt to set forth Thomas Stanley as a little latter-day classic, in his old rich singing-coat, made strong and whole by means of coloured strands of his own weaving.
L. I. G.
Oxford, August 31, 1905.
The Editor’s best acknowledgements are due to Mr. W. Bailey Kempling,
for his painstaking copy, from the 1651 edition of Stanley in the
British Museum, of a large number of the poems collated in this book.
The Dream.
Despair.
The Picture.
Opinion.
The Cure.
Nymph.
Shepherd.
Nymph.
Shepherd.
Nymph.[5]
Shepherd.
Nymph.
Shepherd.
Nymph.
Shepherd.
Nymph.
Shepherd.
Nymph.[6]
Shepherd.
Nymph.
Shepherd.
Nymph.
To the Countess of S[underland?] with the Holy Court.[1:1]
Drawn For Valentine by the L[ady] D[orothy] S[pencer?].[2:1]
On this Swelling Bank.
Dear, fold me once more.[10]
The Lazy Hours.
Love’s Innocence.[4:1]
Then blush not such a flame to own As, like thyself, no crime hath known;10 Led by these harmless guides, we may Embrace and kiss as well as they. |
} |
[4:4] |
The Dedication.[5:1]
To Love.
The Glow-Worm.
To Chariessa,[7:1]
Desiring her to Burn his Verses.
On Mr. Fletcher’s Works [1647].[8:1]
To the Lady D[ormer].[9:1]
To Mr. W[illiam] Hammond.
On Mr. Shirley’s Poems [1646].[11:1]
For while thou dost this age to verse restore, Thou dost deprive the next of owning more; |
} |
[11:7] |
[20]On Mr. Sherburne’s Translation of Seneca’s Medea, and Vindication of the Author [1647-8].[12:1]
[21]On Mr. Hall’s Essays [Horae Vacivae, 1646].[13:1]
On Sir J[ohn] S[uckling] his Picture and Poems [1646].[14:1][22]
Answer [to “The Union,” Poem addressed to Stanley by his Friend and Tutor, William Fairfax].[15:1]
The Blush.
The Cold Kiss.[25]
The Idolater.
The Magnet.
On a Violet in her Breast.
Song.[28]
The Parting.[29]
Counsel.
Guard thy unrelenting mind! None are cruel but the kind. |
} |
[22:5] |
Expostulation with Love, in Despair.
Love! what tyrannic laws must they obey Who bow beneath thy uncontrolled sway! Or how unjust will that harsh empire prove Forbids to hope and yet commands to love! |
} |
[23:1] |
Song.
Expectation.
The Breath.
The Night: A Dialogue.[34]
Unalter’d by Sickness.
Pale envious Sickness, hence! no more Possess her breast, too cold before. In vain, alas, thou dost invade A beauty that can never fade. |
} |
[28:1] |
To Celia.[36]
EXCUSE FOR WISHING HER LESS FAIR.[29:1]
Men might languish, yet not die, At thy less ungentle fire,10 |
} |
[29:2] |
Celia, Sleeping or Singing.[37][30:1]
Palinode.[31:1]
The Return.
Chang’d, Yet Constant.
To Chariessa,
Beholding herself in a Glass.[34:1]
Song.[42]
When I commanded am by thee, (Or by thine eye or hand,) What monarch would not prouder be15 To serve than to command? |
} |
[35:1] |
Song.[43]
Delay.
The Repulse.
Song.
The Tomb.
And thou, devour’d by this revengeful fire, His sacrifice, who died as thine, expire.20 |
} |
[39:1] |
To Celia.[48]
PLEADING WANT OF MERIT.[40:1]
The Snowball.[50]
Speaking and Kissing.
The Deposition.[43:1]
Love’s Heretic.[52]
La Belle Confidante.
La Belle Ennemie.
Love Deposed.[56]
The Divorce.
He by thy hate might be releas’d,15 Who now is prisoner to thy love. |
} |
[46:4] |
Thus whilst so many suppliants woo, And beg they may thy pity prove, |
} |
[46:5] |
The Bracelet.
The Farewell.
The Exchange: Dialogue.[60][49:1]
Weak Nature no such power doth know:5 Love only can these wonders show. |
} |
[49:2] |
The Exequies.[61]
Whose cold embraces the sad subject hide Of all Love’s cruelties, and Beauty’s pride. |
} |
[50:1] |
The Silkworm.[62]
Ambition.
Song.
Song.
Song.[65]
Song.
The Loss.
The Self-Cruel.[57:1]
An Answer to a Song, “Wert thou much [?] Fairer than thou art,” by Mr. W. M.[58:1]
The Relapse.[59:1]
A SHEAF OF TRANSLATIONS.
The Revenge.
[Ronsard.]
Claim to Love.[72]
[Guarini.]
The Sick Lover.
[Guarini.]
Time Recover’d.
[Casone.]
Song.
[De Voiture.]
Apollo and Daphne.
[Marino.]
Song: Torment of Absence and Delay.[75]
[Montalvan.]
A Lady Weeping.
[Montalvan.]
To his Mistress in Absence.
[Tasso.]
The Hasty Kiss.
[Secundus.]
Song: When thou thy pliant arms.[77]
[Secundus.]
Song: ’Tis no kiss.
[Secundus.]
Translated from Anacreon.
I. The Chase.
II.
III. The Spring.
IV. The Combat.
V.
E. Catalectis Vet[erum] Poet[arum].
Seven Epigrams.[67:1]
[Plato.]
I. Upon One named Aster.
II. Upon Aster’s Death.
III. On Dion, engraved on his Tomb at Syracuse.[82]
IV. On Alexis.
V. On Archaeanassa.
VI. Love Sleeping.
VII. On a Seal.[83]
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).[87]
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.’
[88]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.[89]
Μία ψύχη, δυὸ σώματα
By Mr. William Fairfax.
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).[90]
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).
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).[91]
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).[92]
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).[93]
‘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[94] 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.[95] 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).
La Belle Confidante (p. 54).[96]
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:[97]
‘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).[98]
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:—
58:2. P. 68, line 8. ‘So’: 1647, 1651.
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).
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.’
[100]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.)
[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[*] to Sir John Suckling occurring beneath Marshall’s portrait of him in edd. 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—[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 Sigr Girolamo Preti. London.[102] 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 Signr 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. Quæ 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[103] 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. 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. [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]. 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.,’ 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.][104]
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 wch 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.
[105]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.
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. 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.[106] 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.
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 |
[108]‘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 |
[109]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 |
[110]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 Phœbus 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
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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