Peter Davidson (ed.), The Poems and Translations of Sir Richard Fanshawe, Vol. 2
Many of the acknowledgements made in the first volume need to be reiterated here: my gratitude to Jane Reid and to the Harold Hyams Wingate Foundation remains and I am newly indebted to the British Academy both for a further generous research grant to assist with the completion of this work and for a term's leave under their Research Leave Scheme; Oxford University Press have remained as patient and supportive as before, particularly in the persons of Jason Freeman and Sophie Goldsworthy; I have had most generous advice from the Cultural Counsellor of the Portuguese Embassy, Dr Graça Almeida Rodrigues; I am also grateful to the Fundação da Casa de Braganza in Lisbon and to its director; I am particularly grateful to Professor Anibal Pinto de Castro, librarian of the University of Coimbra. Thanks are due to the following libraries and their librarians: The Folger Shakespeare Library, Washington, DC; The British Library, London; The Lilly Library, Bloomington, Indiana; the Berg Collection of the New York Public Library; The Fundação da Casa de Braganza, Lisbon; the Fanshawe Archive, Valence House, London Boroughs of Barking and Dagenham Libraries; the Syndics of Cambridge University Library for permission to reproduce the illustrations from The Lusiad. Thanks are also due to Stephen Parks of the Beinecke Library at Yale and to Richard Oram of the Harry Ransom Humanities Research Center at the University of Texas at Austin. I am more than grateful to Roger Walker for his authoritative essay on Fanshawe and Camões, to be found at pp. 579–90, as well as for his advice on many aspects of Spanish and Portuguese literature.
Again it is an agreeable duty to acknowledge those who have again been far more than research assistants, whose status has been that, rather, of valued collaborators. Jennifer Drake-Brockman has done superb work on the text of 1655. Carol Morley has performed heroic labours of checking and collation as well as again sharing her knowledge of the early-modern drama. Ian McLellan has been a stalwart and tireless collaborator on the massive task of the annotation of the Lusiads. Mark Kilfoyle has read the proofs with his usual care.
A work of this scope, coming to completion over a long time, accumulates debts to those friends and colleagues who have, wittingly or unwittingly, created the conditions which have made it possible. It is a pleasure to acknowledge Michael Alexander, Susan Bassnett, Anne and Hugh pg viBuchanan, Liz Cameron, Kate Chedgzoy, Margaret Ezell, Kate Flint, Jan and Ed Foster, David Hall, Cecilia and Alastair Hamilton, Fr. Bob Hendrie, Oona and Brian Ivory, Derry and Jeanne Jeffares, James Knowles, Sheona and Donald Low, Peter Mack, Jeremy Maule, Dominic Montserrat, David Norbrook, Georgina Paul, Susanna and Alan Powers, Simon Rees, Jamie Reid-Baxter, Julie Saunders, Sabina Sharkey, Nigel Smith, Robin Smith, Adriaan van der Weel. Winifred Stevenson has been an unfailing supplier of sound advice and recondite bibliography.
I owe more than can be readily expressed to David Morley and Jane Stevenson: praeclaro imprimis amico uxorique optatissime.