- 777E A Collection of Poems: 1701 Owner . Mary Simpson
2. 812G Serre, M. de (Jean-Puget), [1600- . 1665] Owner Hannah White Sunderland
3. 835J Donne, John (1573-1631) Owner . . Cordelia Sandford.
4. 477E Sidney, Sir Philip (1554-1586) Owner . Eliza: Sippi …heetory… 1658.
5: 650J Tasso, Torquato, (1544–1595) Tr. Edward Fairfax (c. 1580–1635) Owner . Susanna Knollys
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With contributions of two Poetesses
777E Wharton, Anne 1659-1685 (contributor) Finch, Anne, Countess of Winchilsea (Contributor) John Sheffield Buckingham 1647-1721
A Collection of Poems: Viz. The Temple of Death: By the Marquis of Normanby. An Epistle to the Earl of Dorset: By Charles Montague, Lord Halifax. The Duel of the Stags: By Sir Robert Howard. With Several Original Poems, Never before Printed, By The E. of Roscommon. The E. of Rochester. The E. Orrery. Sir Charles Sedley. } { Sir George Etherege. Mr. Granville. Mr. Stepney. Mr. Dryden, &c.
London: Printed for Daniel Brown … and Benjamin Tooke … 1701
Price $2,200
Octavo 19 x 11cm. Signatures: A⁴, B-2E⁸, 2F⁴ (Bb3 missigned “B3”) Bound in contemporary panelled calf, raised bands, reback’d, morocco label. a very good copy, being internally very crisp and clean. A revised and enlarged edition of A Collection of Poems by Several Hands, published in 1693, this itself being an expansion of the first edition of 1672. (see #844J)
Silence, you Winds; listen, Etherial Lights, While our Urania sings what Heav’n indites.
The miscellany’s title-poem is a translation by the Earl of Mulgrave of Philippe Habert’s elegy ‘Le Temple de la Mort,’ in spite of the scorn expressed in the publisher’s preface for the French nation, and ‘the Servile way of following their Modes’. An essay on poetry, by J. Sheffield, 1st duke of Buckingham.–Horace: of the art of poetry, by Horatius Flaccus.–An essay on translated verse, by the earl of Roscommon.–Coopers hill, by J. Denham.–The duel of the stags, by R. Howard.–The temple of death, by P. Habert.–Macflecknoe, by J. Dryden; with Spencer’s ghost, by J. Oldham–Lecretius.–The plague of Ahtens (!) by T. Sprat.–The spleen, by A.K. Finch, contess of Winchilsea.–A letter from Italy, by J. Addison together with The mourning muse of Alexis, by W. Congreve.–The Kit-Cats, by R. Blackmore.–The campaign, by J. Addison.–Pastorals, by A. Philips.–Faction display’d, by W. Shippen.–Baucis and Philemon, by J. Swift; as also An ode upon, by W. Dillon, 4th earl of Roscommon.–Muscipula, by E. Holdsworth. This is the Fourth edition of the important ‘Temple of Death’ miscellany of Restoration poetry, retaining most of the poems from the third edition (1693) and adding much material, including all the poems on pp. 172-282 – with contributions from Stepney, Arwaker and Congreve – and the poems at the end (pp. 391-453), among them ‘The Spleen’ by ANNE ( Kingsmil) FINCH, Countess of Winchilsea. The Poetry Foundation , which misses the date of the poem The Spleen, writes “possibly Finch’s most well-known poem, was first published anonymously in 1709.[Actually FIRST PRINTED HERE]
The ode was immediately popular and received much attention for its accurate description of the symptoms of melancholia—the disease often associated with the spleen—which Finch suffered from throughout her life. The speaker begins by acknowledging that hypochondria is also often associated with the spleen, the “pretended Fits,” the “sullen Husband’s feign’d Excuse,” and the coquette’s melancholy pose, “careless Posture, and the Head reclin’d.” She then proceeds to undermine these portraits of feigned illness, treating the disease as a real and terrifying affliction:
From Speech restrain’d, by thy Deceits abus’d,
To Deserts banish’d or in Cells reclus’d,
Mistaken Vot’ries to the Pow’rs Divine,
Wilst they a purer Sacrifice design,
Do but the Spleen obey, and worship at thy Shrine.
THE DNB writes “WHARTON, ANNE (1632?–1685), poetess, born in Oxfordshire about 1632, was the second daughter and coheiress of Sir Henry Lee, third baronet, of Ditchley, by Anne, daughter of Sir John Danvers, knight, of Cornbury. On 16 Sept. 1673 she married, as his first wife, Thomas Wharton (afterwards first Marquis of Wharton) [q. v.], to whom she brought a dowry of 10,000l. and 2,500l. a year. In 1680 and 1681 she was in Paris, and both then and afterwards had some correspondence with Dr. Gilbert Burnet [q. v.], who sent poems for her to criticise, among them his ‘Paraphrase on the Fifty-third Chapter of Isaiah, in imitation of Mrs. Anne Wharton.’ Her own ‘Lamentations of Jeremiah paraphrased,’ written apparently in 1681, appeared in the collection entitled ‘The Temple of Death,’ 1695
(it was reprinted with some addition in the second volume of ‘Whartoniana,’ 1727, pp. 64–92). Her ‘Verses on the Snuff of a Candle’ appeared in the first volume of ‘Dryden’s Miscellanies’ (1684, i. 144); her ‘Penelope to Ulysses’ in Tonson’s ‘Ovid’s Epistles by several Hands,’ of 1712, and some minor pieces, including a song, ‘How hardly I conceal’d my Tears,’ is published here in 1701 before ” Tooke’s ‘Collection’ (1716, p. 209), and in other miscellanies.
Her ‘Elegy on the Death of the Earl of Rochester’ (in the ‘Examen Miscellaneum’ of 1702, p. 15) drew from Waller the lines to ‘fairest Chloris,’ commencing ‘Thus mourn the Muses!’ and her ‘Paraphrase on the Lord’s Prayer,’ some tumid verses commencing
Waller pays the lady the somewhat doubtful compliment of assuring her that she was allied to Rochester ‘in genius as well as in blood.’ The kinship in either case was remote; the earl’s mother was aunt to Anne’s father, Sir Henry Lee. Her verses were also commended by Dryden, who upon the death of her elder sister, the Countess of Abingdon, in 1691, wrote the panegyrical poem ‘Eleonora.’ Anne Wharton died at Adderbury on 29 Oct. 1685, and was buried at Winchendon on 10 Nov. following. Her marriage had proved childless and unhappy, and it was only the good counsel of Burnet that prevented her from leaving her husband about 1682. A collection of ‘Copies of Mrs. Wharton’s Poems’ was appended to the Bodleian copy of Edward Young’s ‘Amoris Christiani mnēmoneutikon’ (1686). In addition to her printed writings, Mrs. Wharton left in manuscript a blank-verse tragedy in five acts called ‘Love’s Martyr, or Witt above Crowns.’ The subject is the love of Ovid for Julia, daughter of the emperor Augustus. The tragedy, formerly at Strawberry Hill, now forms Additional MS. 28693. A portrait, painted by Lely, was engraved by R. Earlom. Another, engraved by Bocquet, is given in Walpole’s ‘Royal and Noble Authors’ (1806, iii. 284).
[Ballard’s Memoirs of Learned Ladies, p. 297; Burke’s Extinct Peerage, pp. 347, 582; E. R. Wharton’s Whartons of Wharton Hall, 1898, p. 47; Nichols’s Lit. Anecdotes, v. 644; Waller’s Poems, ed. Drury, 1893, p. 342; General Dict. x. 122; Nichols’s Select Collection of Poems, 1780, i. 51, ii. 329, iii. 44, iv. 356; Chaloner Smith’s Mezzotint Portraits, p. 258, where Anne Wharton is wrongly entitled marchioness.]
English Short Title Catalogue,; T116471;Case 151 (e); Greer & Hastings, The Surviving Works of Anne Wharton, 1, 3, 4, 8, 9, 10(a), 20. 182. Prinz (Rochester) VII,21.*
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812G Serre, M. de (Jean-Puget), [1600-1665] Translator’s dedication signed: H.H., i.e. Henry Hawkins.
The sweete thoughts of death and eternity
(bound with)
Thoughts of Eternity.
Paris [i.e. Saint-Omer : Printed by the English College Press], 1632 SOLD
Octavo 5 1/2 x 3 1/2 inches π1 ã4A-X8 Y4 . {The imprint is false; actual place of publication and identification of printer from STC} “Thoughts of eternity” has separate dated letterpress title page and pagination; register is continuous. First and only edition. This copy is bound in its original limp vellum binding, soiled and rumpled. the spine can be exposed to reveal manuscript lining (see below) This copy has two female ownership signatures one of Hannah White Sunderland and a later signature of Hannah Stakae (?) Hanna White Sunderland could be the Hannah Withe sister of Andrew White SJ, or another Hannah White from America ƒl ca. 1670 Massachusetts .
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2). 835J Donne, John (1573-1631) Owner Cordelia Sandford
Poems, by J.D. VVith elegies on the authors death
London: Printed by M[iles]. F[lesher]. for John Marriot, and are to be sold at his shop in St Dunstans Church-yard in Fleet-street, 1639.
SOLD
Octavo: 13.5 x 9.1 cm..Signatures: A-Z8, Aa-Dd8. With the engraved frontispiece portrait. THIRD EDITION. (first ed. 1633) This copy is bound in its original binding of sprinkled calf, ruled in blind, with a discreet repair to the front joint and foot of the spine. The text is in fine condition and is complete with the portrait of Donne –now rarely encountered- by William Marshall, apparently after a lost miniature by Hillyard, showing Donne as a rakish young man of eighteen, with long hair and an earring in his right ear. Beneath the portrait is a poem by Izaak Walton.
With the contemporary signature of Cordelia Sandford on the title page and the early signature, “Charles Mackenzie”, on leaf A5.
Please see: SARAH LINDENBAUM‘s Blog on the ownership of this book!
“The poetry of Donne represents a sharp break with that written by his predecessors and most of his contemporaries. Much Elizabethan verse is decorative and flowery in its quality. Its images adorn; its meter is mellifluous. Image harmonizes with image, and line swells almost predictably into line. Donne’s poetry, on the other hand, is written very largely in conceits— concentrated images that involve an element of dramatic contrast, of strain, or of intellectual difficulty. Most of the traditional ‘flowers of rhetoric’ disappear completely. For instance, in his love poetry one never encounters bleeding hearts, cheeks like roses, lips like cherries, teeth like pearls, or Cupid shooting arrows of love. The tears which flow in A Valediction: of Weeping, are different from, and more complex than, the ordinary saline fluid of unhappy lovers; they are ciphers, naughts, symbols of the world’s emptiness without the beloved; or else, suddenly reflecting her image, they are globes, worlds, they contain the sum of things. The poet who plays with conceits not only displays his own ingenuity; he may see into the nature of the world as deeply as the philosopher. Donne’s conceits in particular leap continually in a restless orbit from the personal to the cosmic and back again.
“Donne’s rhythms are colloquial and various. He likes to twist and distort not only ideas, but also metrical patterns and grammar itself. In the satires, which Renaissance writers understood to be ‘harsh’ and ‘crabbed’ as a genre, Donne’s distortions often threaten to choke off the stream of expression entirely. But in the lyrics (both those which are worldly and those which are religious in theme), as in the elegies and sonnets, the verse never fails of a complex and memorable melody. Donne had an unusual gift, rather like that of a modern poet, T.S. Eliot, for striking off phrases that ring in the mind like a silver coin. They are two masters of the colloquial style, removed alike from the dignified, weighty manner of Milton and the sugared sweetness of the Elizabethans.
“Donne and his followers are known to literary history as the ‘metaphysical school’ of poets. Strictly speaking, this is a misnomer; there was no organized group of poets who imitated Donne, and if there had been, they would not have called themselves ‘metaphysical’ poets. That term was invented by Dryden and Dr. Johnson. But the influence of Donne’s poetic style was widely felt, especially by men whose taste was formed before 1660. George Herbert, Richard Crashaw, Henry Vaughan, Andrew Marvell, and Abraham Cowley are only the best known of those on whom Donne’s influence is recognizable. The great change of taste that took place in 1660 threw Donne and the ‘conceited’ style out of fashion; during the 18th and 19th centuries both he and his followers were rarely read and still more rarely appreciated. Finally, in the late 19th and early 20th centuries, three new
editions of Donne appeared, of which Sir H.J.C. Grierson’s, published in 1912, was quickly accepted as standard. By clarifying and purifying the often-garbled text, Grierson did a great deal to make Donne’s poetry more available to the modern reader. Almost at once it started to exert an influence on modern poetic practice, the modern poets being hungry for a ‘tough’ style that would free them form the worn-out rhetoric of the late 19th century romanticism. And Donne’s status among the English poets quickly climbed from that of a curiosity to that of an acknowledged master.
“No more than a couple of the poems on which Donne’s modern reputation is built were published during his lifetime, though most of them were widely circulated through court and literary circles in handwritten copies. There were practical reasons for this halfway state of affairs. Many of the poems would have constituted black marks on Donne’s reputation as an earnest and godly divine; and because they were difficult and allusive, only a few people wanted to read them. Thus Donne was known, outside the relatively limited circles that had access to manuscript-collections, primarily as a preacher and devotional writer. But in these capacities he was tremendously productive and influential.” (The Norton Anthology of English Literature, fourth edition).
STC 7047; Keynes 80; Pforzheimer 297
3). 477E Sidney, Sir Philip (1554-1586) Owner Eliza: Sippi …heetory… 1658.
The Countesse of Pembrokes Arcadia. Written by Sir Philip Sidney Knight. Now the sixt time published, with some new additions. Also a supplement of a defect in the third part of this history, by Sir W.Alexander Knight. Whereunto is now added a sixth booke..
London : Printed by W[illiam] S[tansby, Humphrey Lownes, and Robert Young] for Simon Waterson, 1627 [i.e. 1628] $3,200
Folio 29 x 19.5 cm. Signatures: π3 A-Z6, Aa-Zz6, Aaa-Fff6. [“A sixth booke, to the Countesse of Pembrokes Arcadia” by Richard Bellings, originally published separately in 1624, has separate title page with imprint “London, printed by H.L. and R.Y. 1628”; pagination and register are continuous.] This copy is bound in full modern English calfskin in a contemporary style, It has spine label. This copy has the ownership of Eliza: Sippi …heetory… 1658.
This edition contains The Countesse of Pembrokes Arcadia — Certaine sonnets — The defence of poesie — Astrophel and Stella — Her most excellent maiestie walking in Wansted Garden.
“Sir Philip Sidney was a cultured, courteous, and courageous man – everything a man should be when the term ‘aristocrat’ is applied to him. His work was not published in his lifetime though the manuscripts were circulated, in the fashion of the day, and widely read. Sidney’s appearance in English poetry is sudden, brilliant, and brief.” (page 808 The Cambridge Guide to English Literature.) William Ringler describes Arcadia as “the most important original work of English prose fiction produced before the 18th century.”
“The romance’s complicated plot is full of oracles, disguisings, mistaken identity, melodramatic incidents and tangled love situations. Some episodes are of political interest, and Sidney clearly put more of his serious thought on statecraft into it than he pretends when he describes the book as mere entertainment. The Arcadia also contains many poems – ecologues and songs which are interspersed throughout the narrative; they represent Sidney’s experimental and exploratory ventures into verse.”
“The book […] was by Stephen Gosson; it was an attack upon poets and players from a narrowly Puritan point of view. Sidney did not specifically answer Gosson’s attack, but he must have had it in mind when he composed, at some uncertain date, a major piece of critical prose which was published after his death under the titles ‘The Defense of Poesy’ and ‘An Apology for Poetry’. In this long essay Sidney systematically defends poetry (indeed all imaginative literature) against its attackers. He points out the antiquity of poetry, and its prestige in the ancient world. He establishes its universality. He cites the names given to poets by the Romans (vates or prophet) and the Greeks (poets or maker) to indicate their ancient dignity. But, he says, the real defense of the poet depends not upon what he has been but upon what he does. All arts depend upon works of nature, but the poet, supreme among artists, can make another nature, new and more beautiful.”
“Sidney’s Astrophel and Stella (Starlover and Star) is the first of the great Elizabethan sonnet cycles. These collections, imitative of Petrarch or of his French imitators, were based upon a well-understood convention. The poet undertook to display all the contrary feelings of a lover – hope and despair, tenderness and bitterness, exultation and modesty, by the use of ‘conceits’ or ingenious comparisons. Many of these became traditional, and eventually, stale: the poet who complained that in love he both burned and froze, or that his sighs were the winds driving his ship on a tossing sea, was echoing many an earlier poet. So Sidney protests, in the role of Astrophel, that he uses no standard conventional phrases; his verse is original and comes from the heart. (This pretense is also conventional.) But what gives Sidney’s sonnets their extraordinary vigor and freshness is Sidney’s ability to dramatize. He uses dialogue, is often colloquial, and he heightens the situation as much as he can within the fourteen lines.” (quoted from the Norton Anthology, 479-480)
STC 22547; Sir Philip Sidney (ed. Dennis Kay, 1987), p.299; Lawn, Brian. Catalogus Bibliotheca Lawnianae,; p. 152; ESTC,; S117301;Juel-Jensen, Bent. Books by Sir Philip Sidney,; p. 12; Stump, Donald V. Sir Philip Sidney: An annotated bibliography,; no. 6; W.W. Greg. A bibl. of the Engl. printed drama, v. 3, p. 1128.
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4) 650J Tasso, Torquato, (1544–1595) Tr. Edward Fairfax (c. 1580–1635) Owner Susanna Knollys
Godfrey Of Boulogne: Or The Recovery Of Jerusalem. Done into English heroicall verse, by Edward Fairefax Gent.And now the second time imprinted, and dedicated to His Highnesse: together with the life of the said Godfrey.
London : Printed by [Eliot’s Court Press, for] Iohn Bill, printer to the Kings most Excellent Maiesty, 1624. Price: $ 1,900
Folio; 27.5 x 17 cm. Signatures: ¶⁴ )(⁴ A⁴ B-2K⁶ 2L⁴. (lacking the frontis. portrait (plate) of Godfrey, signed: Guil: Pass: fe., i.e. Willem van de Passe. “Some copies [of this ed.] have an engr. portrait of Godfrey and/or an extra leaf of verses: ‘The genius of Godfrey to Prince Charles’ …”–STC (2nd ed.)) Second Edition, 1st editions was published in 1600. This copy is bound in full modern calf . This has the ownership signature on the dedication page of Susanna Knollys
Tasso’s epic poem in which he depicts a highly imaginative version of the combats between Christians and Muslims at the end of the First Crusade, during the Siege of Jerusalem. Said to be a favorite of both King James and Charles I.
The materials for the life of Fairfax are slight, and in some matters contradictory. They are principally comprised in a communication from Mr. Brian Fairfax, a descendant of the poet, to Bishop Atterbury; in a notice by Dodsworth the antiquary, in his manuscript work, ‘ Sancti et Scriptores Ebor.; in a short biographical account by Mrs. Cooper, in her • Muses Library;• which she states to have been furnished to her by Fairfax’s family; and in the Peerages of the times of Elizabeth and James I.
STC (2nd ed.), 23699
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