Addenda to the Online Editions

The Stirling/South Carolina Research Edition of The Collected Works of James Hogg: Anecdotes of Scott
Jill Rubenstein (ed.)

Manuscript credit

Page 85 of this edition states that '[t]he manuscript (Hogg, James. Papers. f MS-Papers-0042-01) belongs to the Alexander Turnbull Library, National Library of New Zealand, Wellington, with whose permission it is here published'.

The reference for the location of this manuscript should be updated to the following:
Alexander Turnbull Library, National Library of New Zealand: Prose, including anecdotes of Sir Walter Scott fMS-Papers-0042-01 [ca 1827-1833] From the Papers of James Hogg, MS-Papers-0042. Hogg, James, 1770-1835: Papers. 1818-1835, 1895-1898. [Collection].

OSEO Project Team
October 2016

Oxford Classical Texts: Apulei: Metamorphoseon Libri XI
Maaike Zimmerman (ed.)

Errata

Preface p. xiii note 22: the 7th line: The 9th cent. > the 19th cent.
Latin text p. 94 line 15: ad omnibus > ab omnibus
In the apparatus of p. 107, line 7: cuius > quarum
In the apparatus of p. 140: last word: capiantes > capientes
In the apparatus of p. 197 line 3: caudata > caudatam
In the apparatus of p. 218 line 4: usum > usurpatum
Latin text p. 270 line 21: modis > modi


Maaike Zimmerman
July 2016

John Cosin: A Collection of Private Devotions
P. G. Stanwood (ed.)

Emendation to Cosin’s marginal note on p. 14, Commentary on p. 322:

*S. Aug. Veniunt . . . Cosin has freely adapted these lines from Augustine’s Confessions, 8,8,19: ‘Surgunt indocti et coelum rapiunt; et nos cum doctrinis nostris sine corde, ecce ubi volutamur in carne et sanguine’ (Patrologia Latina, 32, 0758): ‘The uninstructed start up and take heaven, and we – with all our learning but so little heart – see where we wallow in flesh and blood!’ (trans. A.C. Outler, rev. M Vessey, New York, 2007).

P.G. Stanwood
October 2015

The Correspondence of Elizabeth Stuart, Queen of Bohemia, Vol. 2: 1632–1642
Nadine Akkerman (ed.)

Cover image credit

Album amicorum of Seger Quirijnsz. 74 J59, fol. 5r. Reproduced by kind permission of The Hague, The national library of the Netherlands.

OSEO Project Team
Sept 2013

The Complete Works of John Milton, Vol. 8: De Doctrina Christiana, Vol. 1
John K. Hale and J. Donald Cullington (eds)

Errata - For line numbering please refer to print PDF

pXLVII, 5th line up: change /Franciso/ to /Francisco/
pLVII, 15th line up: change /Johan/ to /Johann/
p7, line 76: change /this account/ to /these writings/
p9, line 99: change /at greatest length/ to /at the greatest possible length/
p11, line 149: change /this writing/ to /these writings/
p55, line 9: change /will be annihilated/ to /will be killed/
p130, line 14: change /Ac rursum/ to /Ac rursum/
p131, line 16: change /and again:/ to /and again:/
p237, trn n. liii, line 3: change /and so came/ to /and this came/
p276, trn n. xvi, line 2: remove grave accent from Greek /en/
p290, footnote 32: add at the end /For a different translation and interpretation of the sentence, see Harold Skulsky’s review of the present edition (Milton Quarterly 47. 3 (2013): 172-6)./
p327, line 16: change /annihilates them: Jehovah annihilates them/ to /destroys them: Jehovah destroys them/
p335, line 9: change /deservedly annihilated/ to /deservedly destroyed/
p351, line 9: change /They annihilate/ to /They destroy/
p371, lines 13-14: change /But the word’s [masculine or neuter] gender goes against this, as indeed does its [accusative] case,/ to /But [the Hebrew word’s masculine] gender goes against this, as indeed does its [nominative] case,/
p407, heading: change /PP. 389/ to / P. 389/
p409, heading: change /PP. 393/ to /P. 393/
p415, 7th line up: change /the annihilation/ to / the violent death/
p433, line 21: change /that annihilation/ to /that extinction/
p435, line 4: change /utterly annihilated/ to /utterly extinguished/
p435, line 17: change /utterly annihilated/ to /utterly extinguished/
p441, 9th line up: change /annihilation of life/ to /extinction of life/
p559, line 4: change /The manner of supernatural renewal/ to /The supernatural manner of renewal/

John Hale and Donald Cullington
July 2015

The Complete Works of John Milton, Vol. 8: De Doctrina Christiana, Vol. 2
John K. Hale and J. Donald Cullington (eds)

Errata - For line numbering please refer to print PDF

p697, 9th line up: change /will be annihilated/ to /will be expunged/
p873, line 7: change /his annihilation/ to /his obliteration/
p885, line 7: change /how very many passages show!/ to /very many possible proof-texts show./
p902, trn n. xxix, line 6: change /with bared head/ to /with raised head/
p1144, trn n. i, line 3: change /n. xvii/ to /n. 17/
p1251, line 1: change /say [i.e. to the false prophets]; [No!] let these/ to /say [i.e. to the true prophets]; let these/
p1251, line 2: change /[our own prophets do not spout/ to /[our own prophets do not spout/

John Hale and Donald Cullington
July 2015

Jonathan Swift and Thomas Sheridan: The Intelligencer
James Woolley (ed.)

Errata

vii.17: for Lingua Latina read Linguae Latinae
2.16: for scatalogical read scatological
41 n23: for transcribe printed sources; read transcribe printed sources, and for no. 3 there were three different settings of the same text;
83 n100: for heartly read heartly
129 n254: for Essays read Essayes
182 n161: for In 1696, William read In 1698, William
250.4-7 for Swift’s estimate . . . is uncertain. read Swift’s estimate, based evidently on some external source, that there were 10,500 inhabited houses in Dublin (1,500 x 7), is not much less than the 11,718 inhabited houses reported in the Dublin hearth-money returns of 1733.2
272.2: for men read Men
288, Harding ornament c: for Cock read Peacock
295.7: for Bodleian read BL
302 28b: for A later impression read Another impression
303 28d: for A later impression than 28b-c . . . followed by a period. read Another impression [Title as 28a except:] . . . NUMB. III. . . . The title-page and p. 8 are reset; on p. 8 ‘FINIS’ is followed by a period.
303.28e: for An entirely different setting of type from 28a-d. read An entirely different setting of type from 28a-d in the inner forme; pp. 1 and 4 of the outer forme are reset.
303.3-5 up: for that pair, and . . . not d-a-b-c. read that pair.
303.2 up: before The pattern insert The sequence a-b-c-d is conjectural.
304.1: for 79 read 80
304.13 up, MOTTO: for redet 28b read redet 28b-c
308.2: for Defind’d read Defind’d
314: add 115 the] his 33F
335.20: for cock read peacock

James Woolley
May 2014

Jeremy Taylor: Holy Living and Holy Dying, Vol. 1: Holy Living
P. G. Stanwood (ed.)

Errata

page 36, note d   for βουλη̌σει read βουλήσει

page 85, note l, and Commentary, p. 315 to 85.11, note l , ll. 4–5
for but I have not been able to locate this passage in his works.
read but the poem is by Anacreon. See M. L. West, Carmina Anacreontea (Leipzig, 1984), p. 5, #6.

page 156, note e   for τθραννὶϛ read τυραννίϛ

page 163, note s   for βονθήσαϛ read βοηθήσαϛ

P.G. Stanwood
February 2014

Jeremy Taylor: Holy Living and Holy Dying, Vol. 2: Holy Dying
P. G. Stanwood (ed.)

Errata

page 19, note h  for Πομφόλθξ read Πομφόλυξ

page 27, note i  for Ἀ θανασία read Ἀθανασία

page 100, note k  for oʿ read ὁ

page 122, note s  for γὰρ ό read γὰρ ὁ

page 141, note p  for μαρὰ read παρὰ

page 233, note r  for πάτροκλε read Πάτροκλε

page 235, note v  for Φρένεϛ read φρένεϛ

page 241, note 20.15  for σπέρμ́ read σπέρμ’’

P.G. Stanwood
February 2014

The Literary Correspondences of the Tonsons
Stephen Bernard (ed.)

Errata - For line numbering please refer to print PDF

pxi, line 5: after Sheelagh Elits read Christine Gerrard
pxi, line 10: for witout read without
p89, note 2, line 5: for 1686 read 1681
p89, note 13, line 1: for Albianus read Albinius
p169, note 4, line 3: for Sophia Dorothea (see Gregg, Queen Anne, 387) read Caroline
p333, line 3: for Albianus read Albinius
p336, line 41: for 1686 read 1681
p365, Charlett, Arthur: for 296 read 297
p369, Evans, Abel: for 298 read 299
p370, Godolphin, suo jure Duchess of Marlborough, Henrietta, Countess of: for 317 read 318
p377, Pelham, Henry: for 307 read 308
p379, Rowe, Nicholas: for 294 read 295
p382, Theobald, Lewis: for 320 read 321


Appendix – Complete Calendar of Extant Letters
Additional Letters
p292, after Letter 36
Dr Leopold Finch; Tonson; [Oxford]; 16 February 1698; Bodleian Libraries, University of Oxford p295, after Letter 64
Nicholas Rowe; Tonson; 29 September 1716; David Lowenherz, President, Lion Heart Autographs, New York; fol.


Stephen Bernard
October 2016

The Clarendon Edition of the Works of John Locke: A Paraphrase and Notes on the Epistles of St Paul to the Galatians, 1 and 2 Corinthians, Romans, Ephesians, Vol. 1
Arthur W. Wainwright (ed.)

Corrections to the introduction

p.16, footnote 8, line 1. Substitute 'scholar' for 'Jesuit'.
p.27, line 15. Substitute 'scholar' for 'Jesuit'.
p.41, last paragraph, line 1. Substitute 'developed' for 'different'.
p.42, lines 5-6. Substitute 'is expanded in the Reasonableness and the Paraphrase to include allegiance.' for 'is not as consistently maintained in the Paraphrase as in the earlier writings.'
p.42 lines 23-24. Substitute 'In both the Reasonableness and the Paraphrase faith can include the notion of trust and commitment. These writings present' for 'In the Paraphrase the word 'faith' includes the notion of trust and commitment. The Paraphrase presents'.
p.66, last paragraph, lines 7-8. Substitute 'was one of those Dissenters who rejected Calvinistic teaching about predestination and were suspected of doubting the doctrine of the' for 'belonged to the group of Dissenters who were known as Non-subscribers because of their refusal to subscribe to the doctrine of the'.

Rev. Arthur W. Wainwright
Sept 2013

The Poetical Works of Christopher Smart, Vol. 1: Jubilate Agno
Karina Williamson (ed.)

Errata

Text
p. 28, B103 for amonst read amongst
p. 35, B142 for Barnabus read Barnabas
p. 62, B313 for the the read the
p. 123, D163 for house of Skyes read house of Sykes

Notes
p. 2, note 14 for goodly giveth read giveth goodly
p. 7, note 73-6 for King of the Servants read King of the Serpents
p. 16, note 28 for (A68) read (A69)
p. 30, note 117 for Glebe read Glede
p. 37, note 158 for Onesuims read Onesimus
p. 38, note 160ff. for erraneous read erroneous
p. 39, note 166 for Scilex Scintillans read Silex Scintillans
p. 42, note 181 for axis, and wheel pulley read axis and wheel, pulley
p. 62, note 311 for Smarts’ read Smart’s
pp. 83-4, note 615-17 for Christ’s Victory and Triumph read Christ’s Victory and Triumph

Dr Karina Williamson
May 2014

The Poetical Works of Edmund Spenser: In Three Volumes, Vol. 2: Spenser's Faerie Queene: Volume 1: Books I-III
J. C. Smith (ed.)

The following images are copyright The Bodleian Libraries, University of Oxford. 4° S 22 Art.Seld

  • The First Book of the Faeire Queen, 1596, L (detail) p.3
  • The First Book of the Faeire Queen, 1596, Title Page, Banner - detail p.3
  • The First Book of the Faeire Queen, 1596, Knight p.164
  • The Second Book of The Faeire Queen, 1596, Title Page, Banner - detail p.165
  • The Second Book of The Faeire Queen, 1596, R (detail) p.165
  • The Third Book of The Faeire Queen, 1596, Title Page, border - detail p.342
  • The Third Book of The Faeire Queen, 1596, I (detail) p.342
  • Bordered verse on the following pages: 5, 19, 31, 42, 55, 69, 81, 95, 108, 122, 139, 153, 167, 182, 194, 206, 218, 228, 241, 258, 272, 287, 307, 319, 344, 361, 374, 390, 405, 419, 433, 449, 462, 476, 491, 505

OSEO Project Team
Sept 2013

 

The Poetical Works of Edmund Spenser: In Three Volumes, Vol. 3: Spenser's Faerie Queene: Volume 2: Books IV-VII
J. C. Smith (ed.)

The following images are copyright The Bodleian Libraries, University of Oxford. 4° S 22 Art.Seld

  • The Fourth Book of the Faerie Queen, 1596, banner (detail) p.3
  • The Fourth Book of the Faerie Queen, 1596, T (detail) p.3
  • The Fifth Book of the Faerie Queen, 1596, Title Page, banner (detail) p.159
  • The Fifth Book of the Faerie Queen, 1596, S (detail) p.159
  • The Sixte Book of the Faerie Queen, 1596, Title Page, banner (detail) p.309
  • The Sixte Book of the Faerie Queen, 1596, T (detail) p.309
  • Bordered verse on the following pages: 5, 19, 33, 46, 58, 70, 82, 94, 110, 121, 136, 149, 163, 171, 185, 195, 208, 223, 233, 245, 258, 271, 281, 297, 312, 324, 336, 349, 359, 370, 381, 394, 407, 419, 430, 443

OSEO Project Team
Sept 2013

 

The Poems and Translations of Sir Richard Fanshawe, Vol. 1
Peter Davidson (ed.)

A Retrospective Note on Sir Richard Fanshawe

Nearly twenty years have passed since I delivered this text to Great Clarendon Street, to form the two published volumes (1997 and 1999) of The Poems and Translations of Sir Richard Fanshawe. The text which I then handed over was itself a product of fifteen years of intermittent application, going back to research and travel undertaken for a Cambridge Doctorate in the early 1980s. My instinctive response to the proposal that it should be reissued as part of the OSEO series was to raise a doubt as to whether the work was really worthy of republication. My chief hesitation, apart from one or two lingering uncertainties about the optimal arrangement of the text, lay in the work’s failure to offer any proper context for those elements in Fanshawe’s work which seem of lasting interest, not least in that they are anomalous affinities for a protestant Englishman: his unusual receptiveness to the Gongoresque poetry of baroque Spain, and his uncommon and persistent achievements as a Latinist.

At this point, another Oxford editor has invited me to compose this comparatively brief retrospective note to accompany the reissue of the text in electronic form. It partakes more of the nature of a seventeenth-century Epistle to the Learned Reader, indicating some points to bear in mind while reading Fanshawe, than of the full critical and contextual introduction which perhaps the edition should have had all along. Old distastes and enmities die a great deal harder than one thinks, and that Gongoristic poetry upon which Fanshawe seized with enthusiasm and translated with mirroring skill, still required a good deal of explanation in the Cambridge of the 1980s. (For explanation, if you like, read apology.) Since then, such works as Giovanni Careri’s Baroques1 have, it is to be hoped, offered an alternative map which emphasises the continuities rather than the antagonisms which governed the arts of the seventeenth century.

In one sense very little has changed since these volumes were first published: no subsequent discoveries have been made to expand the canon of Fanshawe’s works, although the identification of his wife’s manuscript household book offers us solid evidence of the cosmopolitan sophistication of their table.2 No new witnesses to the text have been discovered. No subsequent works have been identified (other than those of his steward and minor disciple Philip Ayres) for which he offered a precedent, far less any upon which he had any profound influence. All the changes have occurred in expanding investigations of contexts: in translation, in early-modern Latin, in the specific investigations of types of writing and thinking which shed light on those practised by Fanshawe.

In the absence of news, the palinode. It takes the form of a curt listing of those elements in this edition of Fanshawe’s work which could have received a better or more balanced commentary.

My most persistent disquiet attaches to the treatment of the material in the Bodleian Library Manuscript, MS Firth c.1. These works were printed in part in 1648 and the Horatian translations form the lesser part of the text of 1652. The overall logic of the edition demanded that they be placed with those printed collections, especially as the texts had received final revision before being printed (and in the case of the Beinecke copy of 1652, further authorial correction thereafter). But there can be no doubt that the arrangement of MS Firth c.1 is an authorial ordering, a fair copy certainly intended for circulation, and probably scribal publication, in the troubled and important years of the early 1640s. So it remains something of a lurking iceberg: Fanshawe’s works as he wished to present them in the early 1640s. This grouping is barely visible on the surface of the edition, but I am glad of this opportunity of reminding the reader that it is there.

Another element which could well have received more prominence is the part which was played by Fanshawe’s friends Gertrude and Constantia Aston of Tixall in the coterie exchange of verses which shaped two of Fanshawe’s most accomplished early poems3. Although Constantia Aston’s elegant letter to her brother on receiving these verses (another adroit manoeuvre in the unfolding of the entertainment) is published in the commentary to the poems4 there is not enough emphasis on the degree to which the two sisters (both of them poets) are confident in leading the intricate pattern of move and counter-move which makes up this very even literary and social exchange5.

The Aston family were recusant Catholics, perhaps the reason why Fanshawe’s perceptible affection for Constantia Aston never developed into marriage. Again, clearer distinctions could have been drawn concerning Fanshawe and the culture of the recusant community. In some respects, his atypically extensive use of Latin6, as well as his receptiveness to Gongorist baroque, might be considered to be in harmony with a counter-reformation aesthetic. But, although he seems to have found the experience of visiting Madrid with Lord Aston’s 1635 Embassy a formative one which gave a cultural direction to his adult life, repeated testimony in his wife’s Memoirs7 affirms that he never converted to Catholicism, however sensitive he remained to Iberian culture abroad, and however easy his relations with the recusant community at home. Comparisons of his Gongoresque imitations to Crashaw are too easy, too meridonialist: Fanshawe’s originals are as distinctly vernacular Spanish as Crashaw’s models are Latinate and Italian. Fanshawe’s Latin works, mostly ingenious imitations of English originals, share a classical correctness in versification with, for example, the Latin writing produced in the English Jesuit College at S. Omers, but their preoccupations are wholly different. Fanshawe’s work is marked, if anything, by his comparative indifference to the emblems which were both an early-modern craze and an early-modern habit of mind, one which was central to English Jesuit poetics. In one respect, in his use of what might be called analogical history, the application of the events of Il Pastor Fido or the fourth book of the Aeneid to contemporary events, Fanshawe employs what was an almost universal baroque technique and one which perhaps reached its furthest development in English letters in the works of the Jesuit dramatists.8 But there the similarities end: Fanshawe’s output is neither conventionally English nor wholly assimilated to the international baroque, despite the fact that he is in the isolated position of trying to convey something of the achievement of English vernacular letters to an internationally Latinate audience. He remains at an angle to the aesthetics of the majority of his compatriots as he does to those of the recusant minority.

His attainments in several modern languages (Italian, Spanish, Portuguese) as well as Latin, and the cultural assimilation shown by his translations of them all, place him in a small minority in all of Europe. Perhaps the single figure whom he most resembles in this respect is the Dutch statesman, polymath and polyglot Constantijn Huygens, who could compose verse in five languages (including highly creditable English) as well as translate from them, most notably in his felicitous Dutch-language versions of poems by Donne.

The household in which Fanshawe spent his childhood, was an exceptional one for a senior civil servant at the beginning of the seventeenth century: his father, Sir Henry Fanshawe, not only cultivated an advanced and aesthetically-experimental garden, but also employed a full-time composer of sophisticated vocal and instrumental music. This milieu, which came to an end with his father’s early death, seems in retrospect an anticipation of the milieu of the mistrusted, internationalist Caroline court of the 1630s. ‘English baroque’ strangely still seems a disjunction to some, perhaps because of the intermittent history of contact between England and the international world of letters and the arts. Indeed, that reign and that internationalism still pose something of a problem of terminology.9

The reign of Charles I certainly represents one of the periods where there was most contact with the world at large, at that point a baroque world, a contact viewed with suspicion by Charles’s numerous critics and enemies, who equated both sophistication and foreignness reductively with invasive Catholicism. (Simplistic equation of baroque with Catholicism has been a considerable obstacle to the rational discussion of early-modern Britain.) This has caused nothing but trouble ever since in terms of finding a useful vocabulary to discuss the undeniable cultural achievements of Charles’s reign, of which Fanshawe’s poems and translations form a rather isolated and idiosyncratic part, as something other than an anomaly.

Certainly, when the researches for this edition began, Caroline baroque was exceptionally difficult to accommodate to what were then the prevailing narratives of the cultural history of the seventeenth century. In a sense, the liveliness of the focus on revolutionary and parliamentarian writing in the decades which followed did nothing to resolve the acute problem of how to conduct an integrated discussion of this literary ‘silver age’, an age seen however by scholars of music or art history as an ungainsayable meridian. The musical historian would no more want to swerve away from the subtle, troubled beauty of William Lawes’s consorts than the art historian would seek to overlook Rubens, Vandyke or Inigo Jones. Things have advanced, but it still salutary to bear in mind the integrated success of the arts of the Caroline court, not only in music, spectacle and visual art. It is an index of confidence in this success to offer a Latin rendering of Fletcher’s The Faithful Shepherdess to an international audience. Penitus divisos ex orbe Britannos. And somewhere in this continuum there is a place for Fanshawe – Laudian polyglot – trying to find language with which to express and explain the literatures of divided Europe.

1 Giovanni Careri, Baroques, (Princeton: Princeton University Press, 2003). My own book The Universal Baroque (Manchester: Manchester University Press, 2007) develops these ideas, including a consideration of the extent to which England attempted to exempt itself from a cultural system otherwise universal, thus emphasising once more Fanshawe’s double isolation.
2 London, Wellcome Institute, MS 7113.
3 Texts at Vol. I, pp. 43-44.
4 Vol. I, p.350.
5 Texts by the Aston family are found in two anthologies published by OUP: my Poetry and Revolution (1998) and Jane Stevenson’s and my Early Modern Women’s Poetry: An Oxford Anthology (2001).
6 Despite the highly visible example of Milton, English literary Latin directed to an international audience is not a large body of work, easily exceeded in scope and quality by that produced in Scotland, Poland or the Netherlands. If Latin literature is usually the elephant in the room of early-modern culture, the English elephant is comparatively small and well-conducted.
7 Ed. John Loftis (Oxford: Clarendon Press, 1979)
8 For this phenomenon cf. Alison Shell, Catholicism, Controversy and the English Literary imagination, 1558-1660 (Cambridge: Cambridge University Press, 1999); W.H. McCabe SJ, An Introduction to the Jesuit Theatre (St. Louis: The Institute of Jesuit Sources, 1983).
9 This phenomenon, and the difficulties which it generates, are discussed at some length in my monograph The Universal Baroque.

Peter Davidson
February 2014

The Works of Thomas Vaughan
Alan Rudrum (ed.)

Corrections to the introduction

Thomas Henshaw, the dedicatee of Magia Adamica, could not have been Vaughan's fellow-prisoner at Rowton Heath. That battle was in 1645 and Thomas Henshaw after being taken prisoner (in 1642) was given the gentleman's option of pledging not to fight again [and was allowed to] travel on the Continent (from 1644-45 with Evelyn in Italy: see references in Evelyn's Diary, passim; see also p.xv of Donald Dickson's Aqua Vitae, Non Vitis, Mediaeval and Renaissance Texts and Studies Vol. 217, 2001). Vaughan's friend Thomas Henshaw had a cousin of the same name and he may have been the person captured at Rowton Heath.

Alan Rudrum
Sept 2013