List and Bibliography:
All Sources of Finch's fables, plays, lyrics, satires, and devotional poetry

Note to the reader: I have on occasion been asked by visitors to my site if I have a handy list of the hard-to-find or lesser known sources of Anne's translated poetry and her fables. I have now made one.

Here is a list of Anne Finch's translations, adapations and imitations alphabetized by title of poem or name of original poet. I have not included those poems which make a general literary reference to, or are written in a genre associated with well-known English poets (e.g., "An Invitation to Daphnis" has a refrain which echoes from Spenser's "Epithalamion"; "Fanscomb Barn" is a mock-heroic imitation of Milton's epic style in the manner of John Phillip's "The Splendid Shilling"). I do not cite predecessors in the drama (e.g, Beaumont and Fletcher) nor references for the literally hundreds of literary allusions to other texts in her original poems (e.g., Abraham Cowley, or yet more minor people, Wentworth Dillon, Earl of Roscommon [as a translator], or the many later seventeenth-century male poets like Mathurin Regnier and précieux who were important to Anne).

For editions of these English and French poets and writers see A Bibliography of the Original Source Texts. Only in a very few cases where the source may not be obvious or the poem's genre has been ignored, do I cite devotional poems that are long, free elaborations, meditations on one or two verses from the Bible. For further descriptions and commentary see my Annotated Chronology. In each case I have placed the French sources first as these are the most common of Anne's sources for translation. For a study of Finch's practice as a translator, see my Anne Finch as a Translator: The Development of Her Technique in her Original Poetry through the Practice of Translation.

The Fables

From Fables choisies, mises en vers by Jean de La Fontaine

  1. "Atheist and the Acorn, The", Methinks this World is oddly made: "Le Gland et la Citrouille", IX, 4.
  2. "Battle between the Rats and the Weazles, The", In dire Contest the RAts and Weazles met: " Le Combat des Rats et des Belettes" IV, 6.
  3. "Brass-Pot, and Stone-Jugg, The", "A Brazen Pot, by scouring vext: "Le Pot de terre et le pot de fer", V, 2.
  4. "Critick and the Writer of Fables, The", WEary, at last, of the Pindarick Way: "Contre ceux qui ont le goût difficule," II, 1.
  5. "Cupid and Folly", Cupid e're depriv'd of sight: "L'Amour et la Folie," XII, 14.
  6. "Decision of Fortune, The", Fortune well-Pictur'd on a rolling Globe: " L'homme qui court apres le Fortune et l'Homme qui l'attend dans son lit", VI, 11.
  7. "Democritus and his Neighbours", In Vulgar Minds what Errors do arise!: " Démocrite et les Abdéritains", VIII, 26.
  8. "Eagle, Sow, and Cat, The", THE Queen of Bird, t'encrease the REgal Stock: "L'Aigle, la Laie, et La Chatte", III, 6.
  9. "Executor, The", A Greedy Heir long waited to fulfill: An original recreation or combination and play upon La Fontaine's "La Curé et le Mort," VII, 10; with input (following La Fontaine who refers the éreader to the previous fable) from La Laitière et le Pot au Lait, VII, 9 and Aesopic tradition of wise man who falls into ditch (e.g., Rhys, "The Astronomer", pp 86-7; L'Estrange," An Astrologer and a Traveller", Pt 1, No. 94, pp 88-9).
  10. "Goute and the Spider, The", When from th'Infernal pitt two Furies rose": "Le Goutte et l"Araignée," III, 9.
  11. "Hog, the Sheep, and Goat carrying to a Fair","WHO does not wish, ever to judge aright": " Le Cochon, la Chèvre et le Mouton, VIII, 12.
  12. "House of Socrates, The", For Socrates a House was built: " La Parole de Socrate", IV, 17.
  13. "Jester, and the little Fishes, The"," Far, from Societies where I have plac": " Le Rieur et les Poissons", VIII, 8.
  14. "Jupiter and the Farmer","When Poets gave their God in Ceete a Birt": "Jupiter et le Métayer, V, 4.
  15. "King and the Shepheard, The","Through every Age some Tyrant passion reigns: " Le Berger et le Ro"i, X, 9.
  16. "Lyon and the Gnat, The", To the still Covert of a Wood": " Le Lion et le Moucheron", II, 9.
  17. "Man and his Horse, The", "Within a Meadow, on the way: " Le Veillard et l'Ane" also influenced by "Le Cheval S'Etant Voulu Venger du Cerf," IV, 13.
  18. "Man bitten by Fleas, The", A Peevish Fellow laid his Head: " L'Homme et la Puce", VIII, 5.
  19. "Man's Injustice towards Providence", A Thriving Merchant, who no Loss sustain'd: " L'Ingratitude et l'Injustice des Hommes Envers la Fortune", VII, 13.
  20. Mercury and the Elephant, A Prefatory Fable, "As Merc'ry travell'd thro' a Wood": L'Élephant et le singe de Jupiter, XII, 21.
  21. "Miller, his Son, and the Asse, The", Tho' to Antiquity the praise we yeild: "Le Meunier, son Fils et l'Ane," III, 1.
  22. "Mussulman's Dream of the Visier and Dervis, The", WHere is that World, to which the Fancy flies: " Le Songe d'un Habitant" du Mogol, XI, 4.
  23. "Owl Describing Her Young Ones, The", WHY was that baleful Creature made: " L'Aigle et le hibou", V, 18.
  24. "Philosopher, the Young Man, and his Statue, The", A Fond Athenian Mother brought: An original recreation or combination and play upon La Fontaine's " Le Renard et le Bust", IV, 14; "La Statuaire et la Statue de Jupiter", IX, 6.
  25. "Prevalence of Custom, The", A Female, to a Drunkard marry'd: " L'Ivrogne et sa Femme", III, 7.
  26. "Reformation", A Gentleman, most wretched in his Lot: " Le Mal Marié", VII, 2.
  27. "Shepherd and the Calm, The", SOothing his Passions with a warb'ling Sound: "Le Berger et le Mer", IV, 2.
  28. "Shepherd Piping to the Fishes, The","A Shepherd seeking with his Lass: "Les Poissons et le Berger qui joue de la Flûte," X, 10.
  29. "Some occasional reflections Digested (tho not with great regularity) into a Poem", published as "Glass" in 1713 and as "Glass" and "The Bird and the Arras" in 1903,"By neer resemblance see that Bird betray": includes an adaptation of "L'Oiseleur, l'Autour, et l'Alouette," V, 15.
  30. "Tale of the Miser, and the Poet, A", A Wit, transported with Inditing: At a considerable distance this recalls La Fontaine's "L'Avare qui a perdu son Trésor," Bk 14, No. 20, pp. 126-27; "Le Savetier et le Financier", Bk 8, No 2, pp. 207-8. It also makes use of Spenser's Faerie Queene, II, vii, 1-51; the background Aesopic tradition may be seen in L'Estrange,"A Miser Burying his Gold", Pt 1, No 146. It's an original poem.
  31. "Tradesman and the Scholar, The","A Citizen of mighty Pelf":" L'Avantage de la Science", VIII, 19.
  32. "Young Rat and his Dam, the Cock and the Cat, The", No Cautions of a Matron, Old and Sag": Le Coche et le Chat et le Souriceau", VI, 5.

From specific English sources

  1. "For the Better", Never trifle with a Disease (originally "A QUACK, to no true skill in physick bred": From Roger L'Estrange, Fables of Aesop," A Doctor and his Patient", Pt 1, No. 95; and Houghton and Singleton Aesop Improved," Of the sick man and his doctor", Bk 2, No. 9.
  2. "Jealousie is the Rage of a Man", Whilst with his falling Wings, the courtly Dove: Proverbs 6:34. I include this as it is not often recognised as a fable.
  3. "Love, Death and Reputation", Reputation, Love, and Death: From John Webster's tragedy, Duchess of Malfi, III, ii, 120-35 (Ferdinand to his sister, the Duchess).
  4. "There's no To-morrow","Two long had lov'd and now the Nymph desir'd": From Roger L'Estrange, Fables of Aesop," There's No To-Morrow", Pt 1, No. 495.

From the Aesopic tradition with analogies to be found in numbers of contemporary French and English sources (including La Fontaine):

  1. "Adam Pos'd", Cou'd our First Father at his toilsome Plough: Partly adapted from John Donne's Satyr IV, lines 17-23.
  2. "Dog and his Master, The", No better Dog e'er kept his Master's Door: There is a text which shows close analogies to L'Estrange,"A Dog and his Master", Pt 1, No. 484, p. 455; but see also Rhys, "The Thief and the Dog", and " The Faithful Dog", pp. 56, 90 and Ogilby, "Of the Dog and the Thief", No. 21.
  3. "Fable, A", A MAN whose house had taken fire: Anne has no specific text in mind and may be remembering some story of a man who tried to borrow someone's engine for saving his house during a fire, but she throws her memories into Aesopic tradition, and combines two types: there are the stories of trees or timber used to build houses, L'Estrange, Fables, of Aesop,"Trees Streight and Crooked", No. 266, p. 232, "The Oxen and a Piece of Timber", No. 265, p 231,"Oxen and Timber", No. 294, p 256; there are fables of peasants trying to save their houses, Esope en belle humeur,"D'un Paisan, et des Souris", p. 256 (of a peasant who sets his house on fire and punishes his servants for laughing instead of helping him).
  4. "Lord and the Bramble, The","To view his stately Walks and Groves: This is an original recreation or play upon Aesopic tales of a nasty bush versus a passer-by; in late 17th century versions, it may be found in Rhys' Aesop's and Other Fables,"The Boy and the Nettle", p. 79; Hoole, Aesop's Fables,"Of the Fir-Tree"; L'Éstrange, Fables of Aesop, "A Fir and a Bramble", Bk 1 , No. 237.
  5. "The MASTIFF and CURS", A Fable inscrib'd to Mr. POPE, A MASTY of our English breed: Again rather than a specific source text, Anne's poem expects us to know about dog fables in general. The situation and (justified) misanthropy at the core of the piece is found in La Fontaine, "Le Perdrix et Les Coqs", Bk 10, No. 7, but the particulars come from another tradition (not large fierce/magnficent dogs. The masculine/feminine opposition is also not in Finch and she would have picked it up; nonetheless, there is a parallel here. See fighting cocks, vicious dogs and pyrrhic victories; e.g, Rhys, "The Fighting Cocks and the Eagle," 16, "The Mischievous Dog," 43. Here Finch was imitated by John Gay who rewrote her Mastiff fable, giving it a contrasting moral by giving the mastiff the worst of the punishment; see John Gay, Fables (1727, 1738), introd. V. A. Dearing (Los Angeles: Wm Clark Memorial Library 1967), Fable XXXIV "The Mastiffs", pp. 115-17. In her epistle to Pope in his 1717 Works (THE Muse, of ev'ry heav'nly gift allow'd), she says comparison with others always favors this mastiff; one of three poems, possibly four (this may include "The LORD and the BRAMBLE. TO view his stately Walks and Groves) intended to refer to Alexander Pope; her meaning in both fables is that Pope need not condescend to vermin to quarrel. Hudibrastic verse.
  6. "Moderation or The Wolves and the Sheep a Fable", The Sheep a people void of strife: Anne has no specific text in mind; however, she works within a tradition of wolf and sheep fables, where wolves are always the enemies of the sheep and disguise themselves in various ways so as to lure the sheep to dismiss the dogs, and then proceed to devour the sheep. This fable appears in many collec tions, including that of La Fontaine, for a clear simple version in Rhys, "The Wolves and the Sheep", p. 33; see also 1673 Aesop Improved, "Of the Wolf and the Sheep," Bk 2, No. 111; Ogilby, Aesop's Fables (1668), "OF the Wolves and the Sheep", No. 31, pp 73-4; La Fontaine, "Les Loups et les Brebis", Bk 3, No 13, pp 95-6 (Couton), Bernard Mandeville, Aesop Dress'd,or A Collection of Fables, Augustan Reprint Society No 120," The Wolves and the Sheep", pp. 44-5; and L'Estrange's political"A league betwixt the Wolves and the Sheep", No. 45, pp. 46-47. She adds the contemporary ironic theme of moderation and turns the fable into Jacobite propaganda; the wolves counsel moderation as the non-Jacobite Tory and Whig supporters of William and then Anne accused the Jacobites of fanaticism; the result: the dogs are called off and sheep who listened to these new "doctrines" are "ruin'd fools."
  7. "puggs, the. a dialogue between an old & young dutch Mastiff", What dogs can do & what they'd say/The Fable writers do convey. This is an original poem but it works within the Aesopic tradition of dog fables. Pug is a word also used of monkeys; for original simple type of dialogue in which one dog asks the other, How can you fawn over a master who strikes you?, and is told "I am nonetheless the gainer". See L'Estrange, Fables, of Aesop, "A Spaniel and a Sow", No. 293, p. 255; see also his Fables and Storyes Moralized,"Two Old Dogs and Two Young", No. 79, p 78; for a later development John Gay's 1727 Fables,"The two Monkeys", No. 40, pp 1347. Specific Jacobite content against Portland (Wm III's old Dutch favorite), Keppel (Wm III's young Dutch favorite) and Yanica (his female mistress after Mary's death, Elizabeth Villiers).
  8. "TOAD undrest, The", A TOAD just crawling up to town: Anne has no specific text in mind; in the mode popular between 1700 and 1710 she rewrites a type of Aesopic fable in the spirit of vers de sociéte. See Roger L'Estrange, Aesop at theBEll-Tavern (London, 1711). She aims at specific society in specific place as in her Tunbridge poems, here Kensington Gardens; and again she targets false beauty and false coquets. For a feel of the sort of Aesopic fables she combines see Roger L'Éstrange, Fables and Stories Moralized London, 1699), Fable 168, p. 154 ("A Peacock and A Swan"), Esope en belle humeur, ou Derniere Traduction, et Augmentation de ses Fables En Prose, & en Vers. A Brusselle. Chez Francois Foppens, Libraire, au Saint Sprit. 1693; an anonymous French book which contains numbers of fables by La Fontaine, "Du Geai De Plume", p. 196 and Aesop's Fables, with their Morals: in Prose and Verse. Grammatically Translated and Illustrated with Pictures and Emblems. By W. D. London, 1703," Of the Chough", p. 45, "The Jay and the Peacock", p 46 "Of the Ox and the Toad", pp. 48-49.

Lyrics, Satires and Other Secular Narrative Poetry using Imitation, Adaptation and Translation from Specific French Sources

For the convenience of the reader, I have rearranged the titles to make them consistently reveal the original or target text Anne saw herself reworking. Anne attempted to reach the Greek and Latin classics through her knowledge of French so I have listed texts whose first appearance was in Greek or Latin under the name of the first creator rather than the name of the French translator.

  1. "Anacreon, The 30th Ode of", The Muses frolicksom and gay . . . : Anne Lefevre Dacier, "Les Poésies d'Anacreon," "Odes" in Les Poesies d'Anacreon et de Sapho, p 158 the Greek and facing on p 159, "ODE XXX"," De L'Amour".
  2. "Anacreon, The Forty-Fifth Ode of", When Mars the Lemnian Darts survey'd: from Dacier, "Les Poésies d'Anacreon," "Odes" in Les Poésies d'Anacreon et de Sapho, pp. 236-7 Greek and facing on p 237," ODE XLV, Sur les Traits De L'Amour".
  3. "Bion English'd by the Right Honourable the Earl of Winchilsea, The First Edilium of", Mourn all ye Loves the fair Adonis dyes, supposed a collaboration between Charles Finch, third Earl of Winchilsea, and Anne; actually by Anne: Hilaire-Bernard de Requeleyne, seigneur de Longepierre, Les Idylles de Bion et de Moschus. Traduites de Frec en Vers Francois, Sur la mort d'Adonis, IDYLLE I., pp. 3-17 (Greek texts face French), "DU Charmant Adonis je plains le triste sort."
  4. Bussy,"Maxim for the Ladys". Translated from the French of Monsieur de A,Love, but lett this, concern you most: Bussy-Rabutin, Roger Comte de, "De Quelle maniere il faut ques les dames se conduisent pour ne pas perde de reputation en aimant," The Maximes d'Amour par le Comte de Bussy, reprinted in 1868 as a coda to two volumes containing Histoire Amoureuse des Gaules, suivie de La France Galante, I, pp. 183-184, "Beau sexe ou tant de grace abonde,/ Qui charmez la moitie du monde".
  5. Bussy Rabutin, From the Maxims of, "On Absence", Absence in Love effects the same (copied out twice, MS Folger p. 38); more fully elaborated as verses inserted in a letter to the Right Hon:br The Lady Vicountess Weymouth written from Lewston the next day after my partin with her at Long Leat, "Absence in love effects the same/As wind opposed to fire" (MS Wellesley, p. 100): Bussy-Rabutin, Roger Comte de, "Si l'absence fait vivre ou mourir l'amour," The Maximes d'Amour par le Comte de Bussy, reprinted in 1868 as a coda to two volumes containing Histoire Amoureuse des Gaules, suivie de La France Galante, I, p. 208, "On parle fort diversement/Des effets que produit l'absence".
  6. Calprenède, Gauthier de Costes de la, Cassandra, "Epistle From Alexander to Ephestion in his Sicknesse, An", With such a pulse, with such disorder'd veins . . .: this scene appears in Sir Charles Cotterell's translation (London, 1667), Book 6, pp 184-7. Verse letter developed out of a highly melodramatic incident.
  7. Calprenède, Gauthier de Costes de la, Cassandra,"Upon Lady Selena [Finch] Shirly's picture", drawn by Mr Dagar, Such was Stattira, when young Ammon woo'd . . .. She could have read the scene in Sir Charles Cotterell's translation (London, 1667); I have not been able to locate a specific analogous one.
  8. Dacier, Anne Lefevre. "A Sigh", "Gentlest Air thou breath of Lovers": an elaboration upon Dacier's commentary upon the Forty-Fifth Ode of Anacreon, "When Mars the Lemnian Darts surveyed", "Les Poesies d'Anacreon," "Ode" in Les Poesies d'Anacreon et de Sapho, p. 240
  9. Deshouliers,"[EPISTLE from a Gentleman to Madame] returning Money she had lent him at Bassette, upon the first Day of their Acquaintance, An": URANIA, whom the Town admires: from Antoinette du Ligier-de-la-GArde Deshouliers, Oeuvres de Madame et Mlle Deshouliers, 3 vols, I, 112-3, Lettre e M. de Senece, Premier Valet-de-Chambre de la Reine, and subheaded "En lui enjoyant de l'argent qu'elle lui avoit preté a la Bassette", La divine Uranie, en tous lieux estimee.
  10. Deshouliers, "To the Right Hon:ble the Lord Viscount Hatton by way of excuse for my having not in sometime replied to his last copy of verses in which he gives himself the name of Corydon not aproved by me who in this Poem offer at an imitation of, in her way of Badinage", Tis not my Lord that verse with me (two versions): from Antoinette du Ligier-de-la-GArde Deshouliers, Oeuvres de Madame et Mlle Deshouliers, 3 vols. I have not been able to locate this one in these dense volumes. It may be a case of too free an adaptation or simply that Anne saw herself as writing in the manner of Deshouliers.
  11. "Mary Magdalen at our Saviour's Tomb": A Fragment, 'Twas scarce the dawn nor yet the distant East. There may be an ultimate Italian source for this poem which Anne reached through the French. Copied into MS Wellesley, p. 104.
  12. Montaign[e]'s Essays done into English Verse paraphras'd, "A Song of the Canibals", out of, Stay Lovely viper, hast not on: Michel de Montaigne, "Des Cannibals," Les Essais, ed. P. Villey (Paris: Presses Universitaires de France, 1965), p 213. The French is also copied out in both the MS Finch-Hatton (p. 40) and Folger MS, pp 3-4, "Coleure arest toy, arest toy Coleure", for an expected reader to compare Anne's playful elaboration with the simplicity of the original.
  13. Petrarc[h], From the French, "[Of] the 188th Sonnet" of, When Phoebus, at declining of the day: Philippe de Maldeghem, Seigneur de Leyschot, Le Petrarque en Rime Francoise avec Ses Commentaries, "Sonnet CLXXXVIII", Quand Phoebus en la mer baignant à sa retraite, p. 280.
  14. Précieux? "La Passion Vaincue". Done into English with Liberty. ON the Banks of the Severn a desperate Maid: I have not been able to identify the precise text. The source is a late seventeenth century poem of the type written during the era of Malherbe and later. It may be a woman poet or perhaps Madame Deshouliers.
  15. Regner, Written originally in French by, "The Equipage", Since the Road of Life's so ill": I have not been able to figure out which of the melancholy satiric poems of this man Anne has freely adapted. I suspect she took a few lines or a verse paragraph from a much longer poem; I can, however, tell the reader where to look: Les Satyres, et autres oeuvres du Sieur Mathurin Regnier, Augmenté de diverses. Paris, 1667. For full bibliographical entry and more information see the Bibliography of Original Source Texts.
  16. Sapho's, In immitation of a fragment of, "Melinda on an insippid Beauty", You, when your body, life shall leave: from Dacier, "La Vie de Sapho," Les Poésies d'Anacreon et de Sapho, pp. 406-407.
  17. Sapho, " A Hymn to Venus", from the Greek of, "Immortal Venus, to whose Name": Found in Steele's 1714 Poetical Miscellanies, pp. 299-300. I have not included this in my Annotated Chronology nor my unattributed texts because it occurs a couple of hundred pages away from the ten in the book by Anne. However, it is a curious piece from the point of view of the source: Anne Lefevre Dacier, Les Poésies d'Anacreon et de Sapho, Traduites de Grec en Francois, avec des Remarques. It does come from the same source as her other documented "poem from Sapho" ("Melinda on an Insippid Beauty"), and eight unattributed Anacreontic poems of Cupid narrative. While its style lacks the inward feel of Anne's, the vocabulary is reminiscent of hers: it has strong words characteristic of her "("wretched heart," "Afflict not thus my soul"), together with that curious heaviness of erotic tone (diminished or contained by new polished tight scansion) found in her plays and pseudo-religious/political imitations. It would be the 11th by her in this book by Steele. Finally, like the First Edilium of Bion English'd, a collaboration between her and Charles Finch, her nephew, this one makes use of Hilaire-Bernard de Longepierre, em>Les Idlles de Bion et de Moscus (1686), Daphis, Idlle IX, p 109 ("Corilas": "Immortelle Venus, divinite puissante . . ."). Therefore I cite it here if anyone is interested in following up this connection between Dacier's Sappho, Anne Finch and other women who wrote erotic Anacreontics.
  18. Seneca's Agamemnon, from the French translation, which is by Charles Toutain, "The treach'rous Fortune of a Royal Crown": Charles Toutain, Agamemnon, ed., introd. Michel Dassonville, reprinted in La tragedie a l'epoque d'Henri II de de Charles IX, Premiere Serie, Vol I (1550-1561), Acte I, Choeur, pp. 194-196, "Ah! Sort menteur! Que ta promesse".
  19. Turenne, "Under the picture of [the] Marshall", taken from his epitaph writen in French, "Turenne with sleeping Monarchs lies enterr'd". Copied out into MS Wellesley, pp. 103-104.

Lyrics, Satires and Other Secular Narrative Poetry using Imitation, Adaptation and Translation from Specific English Sources

  1. "Ardelia's answer to Ephelia", who had invited Her to come to her in Town -- reflecting on the Coquetterie & detracting humour of the Age. "Me, dear Ephelia, in vain you court . . .": Highly complicated set of sources; Boileau's Satire III (itself an imitation of Horace's Satire I, ix); Rochester's "Timon" (an adaptation of Boileau) and his "A Letter from Artemisia in the Town to Chloe in the Country" (which also has the coach scene, and more points of identity and a closer plot than that of "Timon"). The poem from the city-dweller to the person in the country was a frequent type in the later 17th century (e.g. Charles Cotton's satiric "Epistle to Sir Clifford Clifton, then sitting in Parliament".

Translated Plays from French and the Italian through the French

For the convenience of the reader I have rearranged the titles to make them consistently reveal the original text Anne saw herself as reworking.

  1. Racine, [Jean], Part of the Fifth Scene in the Second Act of Athalia, a Tragedy, writen in FRench by Monsieur, "WHy, to our Wonder, in this Place is seen": Jean Racine, Athalie,Act II, Scene V, lines 1-50, beginning "Nathan. " Grande reine, est-ce ici votre place?".
  2. Tasso, Torquato. Some Peices out of the First Act of the Aminta. Dafne's answer to Silvia, declaring she should esteem all as Enemies, who shou'd talk to her of Love, or endeavour to persuade Her from her Virgin Life, "Then, to the snowy Ewe, in thy esteem.": Abbé de Torches, L'Aminte du Tasse. Pastorale. (1681), Acte Premier. Scene Seconde, "Stimi dunque nemico/Il monton de l'Agnella?" and "Tu penses donc que sur la terre/Entre les animaux d'un instinct amoureux" (pp. 20-24. In 20th century scholarly Italian editions, Act I, ii, 213-252. The interested reader will discover that Anne sometimes follows the Italian more closely than the French.
  3. Tasso, Torquato. Some Peices out of the First Act of the Aminta. Amintor being ask'd by Thirsis who is the object of his Love speaks as follows, "[Amint.] Thirsis, to thee I mean that Name to show": Abbé de Torches, L'Aminte du Tasse. Pastorale. (1681), Acte Premier. Scene Seconde, Io son contento/Tirsi, a te dir cio, che le selve, e i monti" and "Tu scauras aujourd'ui la source de mes maux,/Et je suis content de te dire" (pp 32-36). In 20th century scholarly Italian editions, I, ii, 381-441. The interested reader will discover that Anne sometimes follows the Italian more closely than the French.
  4. Tasso, Torquato. Some Peices out of the First Act of the Aminta. Thirsis persuades Amintor not to dispair, upon the Predictions of Mopsus, discovering him to be an Impostor, "[Thirs.] Why doest thou still give way to such dispair . . . ": Abbé de Torches, L'Aminte du Tasse. Pastorale. (1681), Acte Premier. Scene Seconde, TIRSIS, "Perché disperi si?" and TIRSIS: "Pourquoy desesperer?" pp. 44-51. In 20th century scholarly Italian editions, I, ii, 547-652. Here we have Anne elaborating equally on the Italian and the French. as it suits her bitter critique of court life.
  5. Tasso, Torquato. From the French translation of the Aminta, Part of the description of the Golden Age, "Then, by some fountain's flow'ry side": Abbé de Torches, L'Aminte du Tasse. Pastorale. (1681), Acte Premier. Scene Seconde, the famous first stanza of the closing ode sung by a chorus of shepherds ("O bella età de l'oro"), "O siècle plus heureuz mille fois pour les hommes/Que le siècle dur où nous sommes!", 1681 edition, pp. 52 (Italian) and 53 (French facing text). In 20th century scholarly Italian editions I, ii, 682-94.
  6. Tasso, Torquato. From the French translation of the Aminta, "Though wee of Small Proportion see": Abbé de Torches, L'Aminte du Tasse. Pastorale. (1681), Acte Second. Scene Premiere. Satyre seul, "L'Abeille est fort petite, & quand elle nous blesse/Elle picque legerement, pp. 58 (Italian) and 59 (French facing text). In 20th century scholarly Italian editions, II, i, 724-36.

Devotional and Religious/Political Poetry

  1. "Desire of that Soule, which hath a feeling of God, The", Thee woundrous Being excellently great . . . Thomas Rogers, A Pretious Booke of Heavenly Meditations (1640), ubtitled From St. Austin's Manual English'd, Chapter 3, "The desire of that Soule, which hath a feeling of God" (Anne took the title over without changing it), pp. 7-10.
  2. Following poem is taken from the "Epistle from the Monday before Easter", The, "Who is this from Edom moves . . . ": Isaiah 63, very free.
  3. "The happynesse of a departed Soul", "Blest is the Soul which loos'd from sordid earth . . .": Thomas Rogers's A Pretious Booke of Heavenly Meditations (1640), subtitled From St. Austin's Manual English'd, Chapter 6: "The happinesse of that soule which is delivered out of the earthy prison of the body", pp. 16-19.
  4. "Hymne, The", "To the Almighty on his radiant throne": a paraphrase of the 148th psalm (this is the conclusion to Reflections upon 8th Verseof 148, a Pindaric on the Hurricane . . . )
  5. "Last chapter of Ecclesiastes Paraphras'd, The". Inscribed to Mrs Catherine Fleming, "The preacher thus to man his speech addrest . . ." It begins as a close paraphrase but last 2/3's are a free expansion. Includes allusion to Matthew Prior's Solomon
  6. "On these Words" -- for as much as ye did it unto the least of these my Brethren ye did it unto me. Sceane. The Door of a Cathedral. A Rich and Poor man, "Why are my steps withheld? What bids me stay?": Matthew 25:33-40.
  7. "Poor man's Lamb or Nathan's Parable of David", After the murthur of Uriah, and his marriage with Bathesheba turn'd into Verse and Paraphras'd, "Now spent the alter'd king in am'rous cares . . . ": 2 Sam 2-27; 12: 1-24.
  8. Psalm the 137th Paraphras'd to the 7th Verse, "Now Babylon, thou saw'st us weep . . ."
  9. 10th part of the 119th Psalm Paraphras'd in the manner of a Prayer from the lst to the 6th verse, The, "Thy workmanship O Lord I am . . ."
  10. 146th Psalm paraphras'd, "Oh praise the Lord and let his ffame be told . . . "

Further Fables-like and Character poetry

I suspect these are all strongly autobiographical or about situations she saw happening among close friends and family members. Anne's Characters recall those of Sir Thomas Overbury and John Earle; for specific comments and lines see Annotated Chronology. Some of her pastoral narratives have fable-like qualities, but to include all of the poetry that recalls fables would be to list many of her poems. I include the following in case others want to try to find a source or tradition to which they belong.

  1. "Alcidor", "Whilst Monarks in stern Battel strove".
  2. "Cautious Lovers, The", "Silvia letts from the Crowd retire".
  3. "Tale, A", "Over a cheerful cup 'tis thought".
  4. Ralpho's Reflections upon the Anniversary of his Wedding, "This Day, sais Ralpho, I was free".
  5. Sir Plausible, "Sir plausible as 'tis well known".
  6. Upon an impropable undertaking, "A tree the fairest in the wood".
  7. White mouse's petition to Lamira the Right Hon:be the Lady Ann Tufton now Countess of Salisbury, "With all respect and humble duty".
  8. Wit and the Beau, The, "Strephon, whose Person ev'ry grace". [originally A Song, MS F-H, p 141]

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