lation to 'The Return,' which follows. 'The Return'
is possibly but another version of 'Palinode.'

31:2. P. 38, line 5. The Editor has ventured to print 'That would,'
though against all three texts, which give 'That wouldst.' The
meaning seems to be that the 'proud empire' of Beauty is rebellions
to Reason or Philosophy, the restraints of which, ('chains') 'would
within tyrannic laws confine,' etc.

31:3. P. 38, line 7. 'Powerful': 1657.

31:4. P. " line 12. 'In': 1657.

_The Return_ (p. 38).

32:1. P. 38, line 2. 'Unite,' by a misprint: 1651.

32:2. P. " line 3. 'Bounds': 1651, 1657.

32:3. P. " line 5. 'That': 1647.

32:4. P. " line 7. 'Sacred': 1647, 1651.

32:5. P. " line 10. 'Which': 1657.

32:6. P. 39, line 11. 'Midst': 1647, 1651.

32:7. P. " line 13. 'Th'' dropped out in 1651.

_Chang'd, yet Constant_ (p. 39).

33:1. P. 40, line 25. Eros.

33:2. P. 41, line 56. May the Editor be forgiven for altering, with no
explicit help from printed texts, one word of this splendid lyric,
in the very best impudent spirit of the time? The second 'hearts' in
the closing line reads 'they' in all editions of Stanley. It is
possible that this word 'they' has been caught from the line just
before, after a fashion only too familiar to copyists and printers.
Even so, it would mean not 'lovers' but 'hearts.' The word 'hearts,'
one is tempted to think, may be the right word.

34:1. _To Chariessa: Beholding herself, etc._ (p. 41).

The edition of 1651 omits 'To Chariessa.' The Editor regrets having
included it, by an oversight, in this section.

34:2. P. 41, line 8. 'One': 1657.

34:3. P. " line 12. The reading of 1657. 'In': 1647.

_Song: 'When I lie burning'_ (p. 42).

35:1. P. 42, lines 13-16. This stanza, probably by inadvertence, is not
included in the edition of 1651. 'Eye,' line 14, is 'eyes' in 1657;
and 'than,' line 16, is misprinted 'them' in 1647.

35:2. P. 42. line 17. 'No': 1651 and 1657.

_Delay_ (p. 43).

36:1. P. 44, line 18. 'Be': 1657.

_The Repulse_ (p. 44).

37:1. P. 44, line 3. The reading of 1657. 'Tyrannic': 1647, 1651.

37:2. P. 45, line 21. 'The': 1651, 1657.

_Song: 'Celinda, by what potent art?'_ (p. 45).

38:1. P. 45, line 9. 'Friend': 1647, 1651.

_The Tomb_ (p. 46).

39:1. P. 47. lines 19-20. In the version of 1647, these lines rea