Henry Vaughan's second volume of poems presents a poet in transition, still working within the conventions of Cavalier verse while already reaching toward the metaphysical concerns that would define his later work. The collection opens with love poems to Amoret and a translation of Juvenal's Tenth Satire, then moves through elegies, commendatory verses, and translations from Casimir. The editorial apparatus—including a transcriber's note about a missing initial letter in 'In Etesiam Lachrymantem' and an added 'y' in the Boethius translation—signals the textual difficulties that have attended Vaughan's work. Readers encounter a poet who addresses friends, patrons, and the river Isca, mixing personal grief with public praise.

Love and Loss in the Amoret Poems

The sequence of poems addressed to Amoret forms the emotional core of the early section. In 'To Amoret. Walking in a Starry Evening,' the speaker compares his beloved to the stars, while 'To Amoret Gone from him' dwells on absence. The poem 'To Amoret, of the Difference 'twixt him and other Lovers, and what True Love is' attempts to define a love that transcends mere passion. These poems are conventional in their Petrarchan imagery but show Vaughan experimenting with stanza forms and rhetorical structures. The tone shifts in 'An Elegy' and 'A Rhapsodis,' where personal loss intrudes upon the pastoral setting. The Amoret poems are best read as a group, tracing a movement from idealized courtship to the realities of separation and mortality.

Translation as Transformation: Juvenal and Casimir

Vaughan's translations occupy a significant portion of the volume. His version of Juvenal's Tenth Satire—the famous 'Vanity of Human Wishes'—renders the Latin into vigorous English couplets, adapting the Roman satirist's attack on ambition and power for a seventeenth-century audience. More striking are the translations from the Polish poet Mathias Casimir Sarbiewski, whose neo-Latin poems Vaughan transforms into English lyrics. In 'The Praise of a Religious Life,' Vaughan answers Horace's 'Beatus ille' by arguing that true blessedness belongs not to the farmer but to the saint. The Casimir translations show Vaughan already drawn to themes of spiritual withdrawal and divine love, anticipating his later religious poetry. The editorial note about a missing 'y' in the Boethius translation reminds us that these texts have survived imperfectly.

Elegy and Commendation: The Social Poet

Several poems in this volume are occasional, written for specific friends and events. 'An Elegy on the Death of Mr. R. W., Slain in the late Unfortunate Differences at Routon Heath' memorializes a friend killed in the Civil War, while 'An Elegy on the Death of Mr. R. Hall, Slain at Pontefract' continues this thread of wartime loss. The commendatory verses—including those by T. Powell and I. Rowlandson—place Vaughan within a network of Royalist and Anglican writers. 'Upon Mr. Fletcher's Plays, Published 1647' and 'Upon the Poems and Plays of the Ever-Memorable Mr. William Cartwright' show Vaughan engaging with contemporary drama. These poems reveal a poet deeply embedded in literary circles, using verse to forge and maintain alliances. The 'Olor Iscanus' section, with its address to the river Isca, grounds this social world in the landscape of South Wales.

This edition, prepared by E. K. Chambers with an introduction by Canon Beeching, provides the textual foundation for understanding Vaughan's development as a poet. Readers interested in the shift from secular to sacred verse will find in these early poems the technical skill and thematic preoccupations that Vaughan would later bring to 'Silex Scintillans.' The volume rewards attention to its textual cruces and to the ways Vaughan adapts his sources, whether classical, neo-Latin, or contemporary.