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.
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.
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.
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.’
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. 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 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.
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.
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. 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 |
| ‘Fair is Alexis,’ I no sooner said [Plato] | 82 |
| Fair rebel to thyself and Time [Ronsard] | 71 |
| Faith, ’tis not worth thy pains and care | 31 |
| Far from thy dearest self, the scope [Tasso] | 76 |
| Favonius, the milder breath o’ th’ Spring | 33 |
| Five oxen, grazing in a flowery mead [Plato] | 83 |
| Fletcher, whose fame no age can ever waste | 15 |
| Fool! take up thy shaft again | 43 |
| Foolish Lover, go and seek | 28 |
| He whose active thoughts disdain | 52 |
| I go, dear Saint, away | 29 |
| I languish in a silent flame [De Voiture] | 73 |
| I must no longer now admire | 62 |
| I prithee let my heart alone | 65 |
| I will not trust thy tempting graces | 64 |
| I yield, dear enemy, nor know | 55 |
| If we are one, dear Friend! why shouldst thou be | 22 |
| Love! what tyrannic laws must they obey | 30 |
| Madam! the blushes I betray | 16 |
| My sickly breath [Guarini] | 72 |
| No, I will sooner trust the wind | 65 |
| No, no, poor blasted Hope! | 1 |
| Not that by this disdain | 44 |
| Now will I a lover be [Anacreon] | 79 |
| O turn away those cruel eyes | 69 |
| Old Hecuba, the Trojan matron’s, years [Plato] | 82 |
| On this swelling bank, once proud | 9 |
| On this verdant lotus laid [Anacreon] | 80 |
| Pale envious Sickness, hence! no more | 35 |
| Rebellious fools that scorn to bow | 58 |
| Roses, in breathing forth their scent | 37 |
| See how this ivy strives to twine | 12 |
| See how this violet, which before | 27 |
| See, the Spring herself discloses [Anacreon] | 79 |
| Since every place you bless, the name | 6 |
| Since Fate commands me hence, and I | 59 |
| So fair Aurora doth herself discover | 24 |
| Stay, fairest Chariessa, stay and mark | 13 |
| Such icy kisses, anchorites that live | 25 |
| Suckling, whose numbers could invite | 22 |
| That I might ever dream thus! that some power | 1 |
| That kiss which last thou gav’st me, stole | 60 |
| That wise philosopher who had design’d | 20 |
| The air which thy smooth voice doth break | 50 |
| The lazy hours move slow | 10 |
| The silkworm, to long sleep retir’d | 62 |
| The stars, my Star! thou view’st: heaven I would be [Plato] | 81 |
| These papers, Chariessa, let thy breath | 14 |
| Think not, pale lover, he who dies | 25 |
| Thou best of Friendship, Knowledge and of Art! | 17 |
| Thou that both feel’st and dost admire | 2 |
| Thou whose sole name all passions doth comprise | 13 |
| Though ’gainst me Love and Destiny conspire | 7 |
| Though when I lov’d thee thou wert fair | 51 |
| ’Tis no kiss my Fair bestows [Secundus] | 77 |
| To Archaeanassa, on whose furrow’d brow [Plato] | 82 |
| Torment of absence and delay [Montalvan] | 75 |
| Vex no more thyself and me [Anacreon] | 78 |
| Wert thou by all affections sought | 68 |
| Wert thou yet fairer than thou art [‘Mr. W. M.’] | 98 |
| What busy cares too timely born | 4 |
| What if Night | 34 |
| When, cruel fair one, I am slain | 46 |
| When, dearest Beauty, thou shalt pay | 63 |
| When, dearest Friend, thy verse doth re-inspire | 18 |
| When deceitful lovers lay | 29 |
| When I lie burning in thine eye | 42 |
| When on thy lip my soul I breathe | 49 |
| When 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.