In the present edition, when it is clear that there
were two versions, my effort has been to retain one tradition pure,
recording the variants in the notes, even when in individual cases
the reading of the text adopted seemed to me inferior to its rival,
provided it was not demonstrably wrong.
were two versions, my effort has been to retain one tradition pure,
recording the variants in the notes, even when in individual cases
the reading of the text adopted seemed to me inferior to its rival,
provided it was not demonstrably wrong.
John Donne
Grosart and
Mr. Chambers, but much was still left to do by a wider collation. Dr.
Grosart was content with one or two generally inferior manuscripts,
and Mr. Chambers mentions manuscripts which time or other reasons did
not allow him to examine, or he could not have been content to leave
the text of these poems as it stands in his edition.
One warning which must be borne in mind when making a comparison
of alternative readings has been given by Mr. Chambers, and my
examination of the manuscripts bears it out: 'In all probability most
of Donne's poems existed in several more or less revised forms, and
it was sometimes a matter of chance which form was used for printing a
particular edition. ' The examination of a large number of manuscripts
has shown that it is not probable, but certain, that of some poems
(e. g. _The Flea_, _A Lecture upon the Shadow_, _The Good-Morrow_,
_Elegie XI. The Bracelet_) more than one distinct version was in
circulation. Of the _Satyres_, too, many of the variants represent,
I can well believe, different versions of the poems circulated by the
poet among his friends. And the same may possibly be true of variants
in other poems. Our analysis of _1633_ has shown us what versions
were followed by that edition. What happened in later editions was
frequently that the readings of two different versions were combined
eclectically.
In the present edition, when it is clear that there
were two versions, my effort has been to retain one tradition pure,
recording the variants in the notes, even when in individual cases
the reading of the text adopted seemed to me inferior to its rival,
provided it was not demonstrably wrong.
In view of what has been said, the aim of the present edition may be
thus briefly stated:
(1) To restore the text of _1633_ in all cases where modern editors
have abandoned or disguised it, if there is no evidence, internal
or external, to prove its error or inferiority; and to show, in the
textual notes, how far it has the general support of the manuscripts.
(2) To correct _1633_ when the meaning and the evidence of the
manuscripts point to its error and suggest an indubitable or highly
probable emendation.
(3) To correct throughout, and more drastically, by help of the
manuscripts when such exist, the often carelessly and erroneously
printed text of those poems which were added in _1635_, _1649_,
_1650_, and _1669_.
(4) By means of the commentary to vindicate or defend my choice of
reading, and to elucidate Donne's thought by reference to his other
works and (but this I have been able to do only very partially) to his
scholastic and other sources.
As regards punctuation, it was my intention from the outset to
preserve the original, altering it only (_a_) when, judged by its own
standards, it was to my mind wrong--stops were displaced or dropped,
or the editor had misunderstood the poet; (_b_) when even though
defensible the punctuation was misleading, tested frequently by the
fact that it had misled editors. In doing this I frequently made
unnecessary changes because it was only by degrees that I came to
understand all the subtleties of older punctuation and to appreciate
some of its nuances. A good deal of my work in the final revision has
consisted in restoring the original punctuation. In doing this I
have been much assisted by the study of Mr. Percy Simpson's work on
_Shakespearian Punctuation_. My punctuation will not probably in the
end quite satisfy either the Elizabethan purist, or the critic who
would have preferred a modernized text. I will state the principles
which have guided me.
I do not agree with Mr. Chambers that the punctuation, at any rate
of _1633_, is 'exceptionally chaotic'. It is sometimes wrong, and in
certain poems, as the _Satyres_, it is careless. But as a rule it
is excellent on its own principles.
Mr. Chambers, but much was still left to do by a wider collation. Dr.
Grosart was content with one or two generally inferior manuscripts,
and Mr. Chambers mentions manuscripts which time or other reasons did
not allow him to examine, or he could not have been content to leave
the text of these poems as it stands in his edition.
One warning which must be borne in mind when making a comparison
of alternative readings has been given by Mr. Chambers, and my
examination of the manuscripts bears it out: 'In all probability most
of Donne's poems existed in several more or less revised forms, and
it was sometimes a matter of chance which form was used for printing a
particular edition. ' The examination of a large number of manuscripts
has shown that it is not probable, but certain, that of some poems
(e. g. _The Flea_, _A Lecture upon the Shadow_, _The Good-Morrow_,
_Elegie XI. The Bracelet_) more than one distinct version was in
circulation. Of the _Satyres_, too, many of the variants represent,
I can well believe, different versions of the poems circulated by the
poet among his friends. And the same may possibly be true of variants
in other poems. Our analysis of _1633_ has shown us what versions
were followed by that edition. What happened in later editions was
frequently that the readings of two different versions were combined
eclectically.
In the present edition, when it is clear that there
were two versions, my effort has been to retain one tradition pure,
recording the variants in the notes, even when in individual cases
the reading of the text adopted seemed to me inferior to its rival,
provided it was not demonstrably wrong.
In view of what has been said, the aim of the present edition may be
thus briefly stated:
(1) To restore the text of _1633_ in all cases where modern editors
have abandoned or disguised it, if there is no evidence, internal
or external, to prove its error or inferiority; and to show, in the
textual notes, how far it has the general support of the manuscripts.
(2) To correct _1633_ when the meaning and the evidence of the
manuscripts point to its error and suggest an indubitable or highly
probable emendation.
(3) To correct throughout, and more drastically, by help of the
manuscripts when such exist, the often carelessly and erroneously
printed text of those poems which were added in _1635_, _1649_,
_1650_, and _1669_.
(4) By means of the commentary to vindicate or defend my choice of
reading, and to elucidate Donne's thought by reference to his other
works and (but this I have been able to do only very partially) to his
scholastic and other sources.
As regards punctuation, it was my intention from the outset to
preserve the original, altering it only (_a_) when, judged by its own
standards, it was to my mind wrong--stops were displaced or dropped,
or the editor had misunderstood the poet; (_b_) when even though
defensible the punctuation was misleading, tested frequently by the
fact that it had misled editors. In doing this I frequently made
unnecessary changes because it was only by degrees that I came to
understand all the subtleties of older punctuation and to appreciate
some of its nuances. A good deal of my work in the final revision has
consisted in restoring the original punctuation. In doing this I
have been much assisted by the study of Mr. Percy Simpson's work on
_Shakespearian Punctuation_. My punctuation will not probably in the
end quite satisfy either the Elizabethan purist, or the critic who
would have preferred a modernized text. I will state the principles
which have guided me.
I do not agree with Mr. Chambers that the punctuation, at any rate
of _1633_, is 'exceptionally chaotic'. It is sometimes wrong, and in
certain poems, as the _Satyres_, it is careless. But as a rule it
is excellent on its own principles.
