Part 6
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