of the various readings are of rare interest, and collation has revealed successive additions and revisions altogether unrecorded by modern editors. In their places I have pointed out the flagrant carelessness of the last Editor, W. B. TURNBULL, Esq., in Smith's Library of Old Authors.'

As was meet, I have adhered to the first titles of Steps to the Temple' and 'The Delights of the Muses,' the former embracing the SACRED, and the latter the SECULAR Poems. The original Editor (whoever he was), not the Author, gave these titles. In the Preface to 'the learned Reader,' he says, 'we stile his sacred Poems, Steps to the Temple.' At one time I was disposed to assign the editorship of the volumes of 1616 and 1648 to SANCROFT; but inasmuch as both contained Bp. RAINBow's verses prefixed to ISAACSON's 'Chronologie,' while the piece is not in the SANCROFT MS., it seems he could not have been the editor. His pathetic closing words reveal much love: I will conclude all that I have impartially writ of this learned young Gent. (now dead to us) as hee himselfe doth, with the last line of his poem upon Bishop Andrewes' picture before his Sermons, Verte paginas-Look on his following leaves, and see him breath.'

I would now give an account of previous editions of our Worthy, and our use of them. The earliest of his publications-excluding minor pieces in University Collections as recorded in our Essay-was a volume of Latin Epigrams published at Cambridge in 1631 in a small Syo. The name of CRASHAW nowhere appears, but his initials R. C. are appended to the Dedication to his friend LANEY. The title page was as follows:

'Epigrammatum Sacrorum Liber. Cantabrigiæ, ex Academiæ celeberrimæ typographo, 1634.' Besides the Epigrams, this now rare volume contained certain of his 'Poemata' before the Epigrams. A second edition was published in 1670 with a few additional Epigrams, and those in Greek. A third edition appeared in 1674. Fuller details, with collation of each, are given in Vol. II. in their places.

Nothing more of any considerableness was published until 1646, two years after the Poet's ejection. Then appeared a small volume of Poems, chiefly English, arranged in two distinct classes, Sacred and Secular, the latter with a separate title-page. In the Note which follows this Preface, the title-pages of the volume will be found, along with those of the subsequent editions of 1648 and 1670. With reference to the volume of 1646, a mistake in the printing was thus pointed out: 'Reader, there was a sudden mistake ('tis too late to recover it): thou wilt quickly find it out, and I hope as soone passe it over; some of the humane Poems are misplaced amongst the Divine.' These 'humane' poems, that belonged not to the Steps' but the 'Delights of the Muses,' were fifteen in all. They were assigned their own places in the new edition of 1648. With two exceptions, we have adhered to the classification of the 1648 edition: the exceptions are, that we have placed 'Vexilla Regis' immediately after the Office of the Holy Crosse,' as belonging properly to that composition; and the 'Apologie' for the Hymn to TERESA after the first, not after the second Hymn, seeing the 'Apologie' is only for the first. The new edition bore on its title-page the announcement: 'The second Edition, wherein are added divers pieces not

before extant.' Our contents of the present Volume (immediately following our Dedication) shows these additions, which were important and precious; viz. twentynine new English Poems and eighteen new Latin Poems.

The next edition was published in PARIS in 1652. In our Note (as supra) the title-page is given. This volume is an elegant one, and is adorned with twelve dainty engravings after the Author's own designs, though we possess a copy without the engravings, having blanks left. This exceedingly rare book contains most of the Sacred Poems and some of the more serious of the Secular Poems; but as the contents (as supra) show, there were large omissions, notably the Sospetto and Musick's Duel. It was edited by THOMAS CAR, who prefixes two poems of his own, as follows:

I. CRASHAWE, THE ANAGRAMME HE WAS CAR.'
Was CAR then Crashawe; or was Crashawe Car,
Since both within one name combined are?
Yes, Car's Crashawe, he Car; 'tis loue alone
Which melts two harts, of both composing one.
So Crashaw's still the same: so much desired
By strongest witts; so honor'd, so admired;
Car was but he that enter'd as a friend

With whom he shar'd his thonghtes, and did commend
(While yet he liu'd) this worke; they lon'd each other:
Sweete Crashawe was his friend; he Crashawe's brother. 10
So Car hath title then; 'twas his intent

That what his riches pen'd, poore Car should print;

Nor feares he checke, pray sing that happie one
Who was below'd by all; disprais'd by none:
To witt, being pleas'd with all things, he pleas'd all,
Nor would he gine, nor take offence; befall
What might, he would possesse himselfe, and line
As deade (denoyde of interest) t' all might gine
Desease this well composed mynd; fore-stal'd
With heauenly riches; which had wholy call'd

15

20

His thoughts from earth, to liue aboue in th' aire

A very bird of paradice. No care

To fitt his soule to heauenly exercise

Had he of earthly trashe. What might suffice

Sufficed him and may we guesse his hart

25

By what his lipps brings forth, his onely part

Is God and godly thoughtes. Leaues doubt to none

But that to whom one God is all; all's one.

What he might eate or weare he tooke no thought;

His needfull foode he rather found then sought.

30

He seekes no downes, no sheetes, his bed's still made;

If he can find a chaire or stoole, he's layd.

When Day peepes in, he quitts his restlesse rest,

And still, poore soule, before he's vp, he's dre'st.

Thus dying did he liue, yet liued to dye

35

In th' Virgin's lappe, to whom he did applye

His virgine thoughtes and words, and thence was styld

By foes, the chaplaine of the virgine myld,

While yet he lined without. His modestie

Imparted this to some, and they to me.

40

Liue happie then, deare soule! inioy the rest

Eternally by paynes thou purchacedst,

While Car must liue in care, who was thy friend,

Nor cares he how he liue, so in the end

He may inioy his dearest Lord and thee;
And sitt and singe more skilfull songs eternally.'

45

II. AN EPIGRAMME

Vpon the Pictures in the following Poemes, which the Authour first made with his owne hand, admirably well, as may be seene in his Manuscript dedicated to the Right Honourable Lady the L. Denbigh.

"Twixt pen and pensill rose a holy strife

Which might draw Vertue better to the life:

Best witts gaue votes to that, but painters swore
They neuer saw peeces so sweete before

1

1 TURNBULL in line 19 misprints Diseased his.... making nonsense. Disease is dis-ease, discompose, as used by PHINEAS FLETCHER: cf. vol. iii. p. 194 et alibi.

As thes fruits of pure Nature; where no Art

Did lead the vntaught pensill, nor had part

In th' worke

The hand growne bold, with witt will needes contest:
Doth it preuayle? ah no! say each is best.

10

This to the care speakes wonders; that will trye
To speake the same, yet lowder, to the eye.
Both in their aymes are holy, both conspire
To wound, to burne the hart with heauenly fire.
This then's the doome, to doo both parties right:
This to the eare spcakes best; that, to the sight.
THOMAS CAR

It is clear from these lines in the former poem-—

'Car was but he that enter'd as a friend

With whom he shar'd his thoughtes, and did commend
(While yet he lied) THIS WORKE

So Car hath title then; 'twas his intent

That what his riches pen'd, poore Car should print —

15

that the volume of 1652 carries the authority of CRASHAW with it as his own Selection from what he had written. So that I have had no hesitation in accepting its text of the Poems previously published (in 1616 and 1618): understanding that the Selection was regulated by his desire only to offer the COUNTESS OF DENBIGH those he himself most valued. There are inevitable misprints and a chaos of punctuation; but the text as a whole is a great advance on those preceding, as our Notes and Illustrations to the several poems prove. There are some very valuable additions throughout, entirely overlooked by modern Editors. Our text of all not in 1652 volume is based on that of 1648 collated with 1616.

TUPNBULL again misprints in line 3 But for Be making nonsense,

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