.. The Additionals have a separate title, dated 1659. They consist of supplementary poems and letters, and the tragedy of "The Sad One," not before printed.]1 4. [THE WORKS OF SIR JOHN SUCKLING. Containing all his Poems, &c. London: Printed for, &c. &c., 1696, 8o, with separate titles, dated 1694. Portrait, without the engraver's name, after Marshall.] 5. THE WORKS OF SIR JOHN SUCKLING. Containing his Poems, Letters, and Plays. London: Printed for Jacob Tonson, 1709, 8o, with a portrait. 6. THE WORKS OF SIR JOHN SUCKLING. Containing his Poems, Letters, and Plays. London: Printed for Jacob Tonson, at Shakespeare's Head, over against Katharine Street in the Strand, 1719, 8°, with a portrait. 7. THE WORKS OF SIR JOHN SUCKLING. Containing his Poems, Letters, and Plays. No portrait is prefixed. 2 vols., 120, 1770. 1 [In this third impression the new matter is introduced by a separate title, as follows:- "The Last Remains of Sir John Suckling. Being a Full Collection of all his Poems and Letters, which have been so long expected, and never till now published, with the licence and approbation of his noble and dearest friends." This impression is undoubtedly of importance and value, and is comparatively unknown. In the "Ballad on a Wedding," it supplies an additional stanza, and the new matter at the end, furnished (as we are told) by Lady Southcot, more than doubles the number of poems, as found in the octavos of 1646 and 1648. So far as the volume, however, merely reproduces the old matter, its text is decidedly inferior. Of the edition of 1658 there is a reissue, perhaps a surreptitious one, with the same title, imprint and date, but with different typographical ornaments, and altogether a distinct setting-up. It is accompanied by a portrait, copied from Marshall's, and without any engraver's name.] A LIST OF THE ENGRAVED PORTRAITS OF SIR JOHN SUCKLING. 1. A bust, engraved by Cross; painter unknown. 2. A portrait prefixed to his "Poems and Plays,” 1646, 8°. Painter uncertain; engraved by Marshall. 3. A portrait prefixed to the edition of his works, 1709, 8°. Painted by Vandyke; engraved by Vander Gucht. 4. A second engraving by Vander Gucht, from a portrait in the editor's possession. [Probably the portrait before the edition of 1696 is here meant.] 5. A portrait of the poet as a child, with ruffles at the wrists. 6. A portrait, large folio, in the set of “Poets.” Painted by Vandyke; engraved by Vertue. 1741. 7. A portrait prefixed to the selection from the works, 1836. Painted by Vandyke; engraved by James Thomson. 1835. 8. [A portrait taken in early life, half-length, the hair flowing. Engraved by Newton from a drawing by Thurston, after an original picture in the Ashmolean Museum at Oxford. In the series of "Portraits of the British Poets," and in the present volume, through the obliging courtesy of Messrs Ballantyne & Co.] 9. [The anonymous print prefixed to the spurious edition of 1658 already referred to.] ADDITIONAL NOTES.1 P. 6. If when Don Cupid's dart, &c.-"Rochester and others among the early poets have written poems on the model of this, and Leigh Hunt among the moderns."—W. W. P. 8. A Sessions of the Poets.-"The characters of the poets who appeal at the Sessions are drawn with great discrimination, particularly that of the poet Jonson. His own attachment to pleasure and indifference to fame are expressed with great [word illegible]."—W. W. P. 8. Tom Carew.-" Carew's poems have been lately reprinted, and have not obtained much notice. He is chiefly known as the author of the beautiful sonnet beginning 'He that a coral lip admires." 2-W. W. Wordsworth adds on the next page: 'Some poems on the model of this ['The Sessions'] will be found in the 'State Poems,' but they all appear to me inferior in grace and simplicity." P. 8. His muse was hide-bound.-So the edition of 1648; those of 1646 and 1658 read hard-bound.-H. P. 13. Love's World.-"This ode abounds with the most childish conceits, but which are occasionally redeemed by beauties of the highest order. Byron has apparently imitated the last two lines of the fourth stanza." Referring to the same poem, 1 These notes have been principally derived from a copy of Suckling's works, edit. 1658, purporting to have been formerly in the possession of Wordsworth. All the notes written by the poet himself are initialed W. W., or signed in full, evidently to distinguish them from notes in two other hands, those of George Chalmers and John Lawson; but the authenticity of this MS. matter has (it is right to say) been called in question. The handwriting is certainly very like Wordsworth's, which varied good deal from time to time; but it was thought that, at any rate, these remarks, whether by Wordsworth or not, could not be without a certain value. 2 [Carew's "Poems," by Hazlitt, p. 21. The piece referred to is called "Disdain Returned."] Wordsworth observes, two pages further on: "Some of the thoughts are fine, though somewhat quaintly express'd." P. 14. My fancy, &c.-"Scott, in his 'Life of Byron,' has quoted these two lines."-W. W. P. 20 [of ed. 1658].1 Why so pale, &c.-"This celebrated song forms a part of the tragedy of 'Aglaura,' where it is sung by Orsanes. This song is one of the few of his which are remembered. Perhaps this and the [word illegible] are better known to the public than any other of his. The lover's indifference is admirably expressed.”— W. P. 18. O, for some honest lover's ghost. — Many poets have expressed the same wish. See James Greeme's "Girls' Dreams." P. 20. It is so rare and new a thing." This reminds us of Byron ' And 'tis some praise in peers to write at all!' Malvezzi's work is now rather rare-at least the translation.' -W. W. P. 23. There never yet was woman made.-"This poem is remarkable for ease and sprightliness, the true characteristics of Sir J. Suckling's muse, and may therefore be taken as a fair specimen of his powers."-W. W. He adds presently: "Suckling seems to have been intimately acquainted with the female heart; he praises, ridicules, and adores the sex in the same breath. The germs of thought of some of Moore's most beautiful lyrics may be found in this ode."1 P. 28 [of ed. 1658].—“This song must have been popular in its day, as it will be found copied in many of the early collections of songs."-W. W. He adds just below, referring to the last two lines of the first stanza: "A similar thought may be found in Moore. Speaking of love, he says 'That, though the heart would break with more, It could not live with less.'" P. 25. To my friend Will Davenant.-Several poems addressed to Davenant will be found in the volume. 1 [Omitted in present edition, as it is repeated in its proper place.] 2 [Inserted in present volume in its proper place in "Aglaura."] P. 28. I prythee spare me. some of his best "Moore has borrowed the idea of from this ode." Below the fourth stanza he notes: "This is not only poetical, but too fine [? fine too]."-W. W. . P. 29. Upon my Lady Carlisle's walking, &c.—"Excellence in poetry was not understood in that age. Obscurity was mistaken for sublimity, and pedantry for learning. Nature and simplicity were banished from poetry. Milton and Dryden alone seem to have understood the true principles of poetry, and were not vitiated by the prevailing taste. Milton, for the sake of temporary celebrity, would not conform to the reigning taste, and was therefore not popular. Carew was a courtier, and in some fame with Charles I., who conferred several honourable offices on him. Some of his lyrical poems are very beautiful, though occasionally deformed by obscurities. He, like his friend Suckling, was ambitious of being ranked among the metaphysical poets, but fortunately had not power to attain it."W. W. It may be just added that the Lady Carlisle here named can hardly have been any other than the wife of James Hay, first Earl of that creation, 1622-36. P. 34. A supplement, &c.-" The continuation is equal to the first part." P. 36. Made my approaches, &c.—Byron appears to have imitated this stanza in the following lines : "Ours was the smile none saw beside; He adds on the next page: "In this poem Suckling seems to P. 40. The sweat of learned Jonson's brain, &c.--"Compare Milton Then to the well-trod stage anon, If Jonson's learned sock be on, Or sweetest Shakespeare, fancy's child, -'L'Allegro.' Which was wrote first?"-F. Lawson. |